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AUTUMN AUCTION 2010 TAIPEI


MODERN

&

CONTEMPORARY

ART


羅芙奧台北 2010 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2010 TAIPEI Modern and Contemporary Asian Art

AUCTION

拍賣日期/地點 2010年12月5日(日)下午 2:30 至 7:30 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 5, 2010, 2:30pm – 7:30pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan  

預展日期/地點

PREVIEWS  

台中 2010年11月6日(六)至11月7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 2010年11月27日(六)至11月28日(日)上午 10:00 至下午 7:00

Hong Kong

香港君悅酒店(君悅廳)

Grand Hyatt Hong Kong – Salons

香港灣仔港灣道1號

1 Harbour Road, Wanchai, Hong Kong

Saturday, November 6 – Sunday, November 7, 2010, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Saturday, November 27 – Sunday, November 28, 2010, 10:00am – 7:00pm

 

Taipei

台北 2010年12月3日(五)至12月4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

MODERN

&

CONTEMPORARY

Friday, December 3 – Saturday, December 4, 2010, 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 2010 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委 託競投表格。 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

香港

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目錄訂閱

何杏淇 電話:+852 2889 0859 電子信箱:elaine_holt@ravenelart.com

香港總監

台灣

中國

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業務協理

香港

其它地區

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

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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

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。

其它地區

台灣

林依潔 電話:+886 2 2708 9868 轉 182 電子信箱:kate_lin@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 何杏淇 電話:+852 2889 0859 手機:+852 93811886 電子信箱:elaine_holt@ravenelart.com

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

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。

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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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。 羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況報告書,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

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid.

COLLECTION AND SHIPPING

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.

Hong Kong

Executive Director, Hong Kong Elaine Holt Tel: +852 2889 0859 Email: elaine_holt@ravenelart.com

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

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

International Kate Lin Tel: +886 2 2708 9868 ext. 182 Email: kate_lin@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.

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

International Stella Huang Tel: +886 2 2708 9868 ext. 883 Email: stella_huang@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 2

藝術家索引 / Index A

羅芙奧秋季拍賣會

Yoshitaka AMANO

Sale Information 3

羅芙奧之服務

藝術家索引

Index 7

亞洲現代與當代藝術

Modern and Contemporary Asian Art 276

250

蔡國強 曹靜萍 張耿豪 張耿華 常陵 陳蔭羆 陳界仁 陳其寬 陳可 陳流 江賢二 邱亞才 朱德群 莊喆

145, 205 162, 164 195 195 116, 163, 269 146 213 130 230 160, 169, 215 154 118, 173 139, 148, 152, 185 121, 136, 209, 211

杜溪

172, 214

高惠君 朱沅芷 關紫蘭

165, 167 144 261

灰原愛 韓永旭 侯俊明 蕭一 黃鋼 黃明珠 黃柏仁 洪易 黃志超 黃楫 黃銘哲

197 244 204 266 147, 225, 236 199 270 275 206 106 120, 124, 175

石井亨

246

詹金水 池龍虎 賈剛 焦興濤 朱銘

117, 202 193 174 267 150, 156, 157, 180, 189 190, 191, 271

鎌谷徹太郎 姜流真 加藤遼子 北川宏人 金池惠 金志旻 郭振昌 草間彌生 權奇秀

109 256 110 196, 198 111 265 177 252 249, 251

李真

142, 143, 200

C CAI Guo-Qiang CAO Jingping CHANG Geng-hwa CHANG Keng-hau Chang-Ling George CHANN CHEN Chieh-jen CHEN Chi-kwan CHEN Ke CHEN Liu Paul CHIANG CHIU Ya-tsai CHU Teh-chun CHUANG Che

Ravenel Services 5

天野喜孝

藝術家簡歷

D

Artist Biographies

DU Xi

G 315

GAO Huijun Yun GEE GUAN Zilan

委託競投表格

Absentee Bid Form 317

H 業務規則

Ai HAIBAR HAN Young Wook HOU Chun-ming HSIAO Yi HUANG Gang HUANG Ming-chu HUANG Po-ren HUNG Yi Dennis HWANG HWANG Jyi Michell HWANG

Transaction Agreement

I Toru ISHII

J JAN Chin-shui JI Yong Ho JIA Gang JIAO Xingtao JU Ming

K Tetsutaro KAMATANI Yujin KANG Ryoko KATO Hiroto KITAGAWA KIM Jee Hye KIM Ji Min J. C. KUO Yayoi KUSAMA KWON Ki Soo

L LI Chen

5


藝術家索引 / Index Y

L LI Chun-shan LI Jisen LI Kuang-yu LIANG Ping-cheng LIAO Yu-an LIEN Chien-hsing LIN Fengmian LIN Hairong Richard LIN LIU Jia LIU Kuo-song LIU Xiaodong LU Hsien-ming

李仲生 李繼森 李光裕 梁平正 廖堉安 連建興 林風眠 林海容 林壽宇 劉佳 劉國松 劉小東 陸先銘

126 224 274 194 203 122, 178, 212 140 264 210 273 132, 141, 155 181 268

馬白水 毛同強 松浦浩之 村尾成律

259 216 253 247

中山德幸 奈良美智

112 276

歐陽春

235

龐均 彭光均

104, 166 201

邱炯炯

229

六角彩子

248

常玉 佐藤誠高 石磊 席德進 蘇勝前 鈴木良治

127, 128 241 218, 239 125, 133 245 113

丁雄泉 莊普

176, 220, 240, 242 243

王沂光 汪志傑 魏樂唐 韋嘉 韋啟美 黃榮禧

263 217 107, 123, 138 231 257 114

夏俊娜 熊宇 徐冰 徐毛毛 薛松

161, 207, 208 223 185 158 159

Ai YAMAGUCHI Mayuka YAMAMOTO YAN Pei Ming YANG Chihung YANG Chi-tung YANG Din YANG Mao-lin YANG Ren-ming YANG San-lang Yuyu YANG Tzu-chi YEH YIN Kun YOON Jongseok YU Cheng-yao YAO Jui-chung Sam YU

M MA Pai-sui MAO Tongqiang Hiroyuki MATSUURA Masanori MURAO

O OUYANG Chun

P PANG Jiun PENG Kuan-jun

Q QIU Jiongjiong

R Ayako ROKKAKU

S SANYU Naritaka SATOH SHI Lei SHIY De-jinn SU Shengqian Ryoji SUZUKI

T Walasse TING TSONG Pu

W WANG Yiguang WANG Zhijie John WAY WEI Jia WEI Qimei Tony WONG

X XIA Junna XIONG Yu XU Bing XU Maomao XUE Song

108 254 186 119, 135 260, 262 219, 234 115, 179, 237, 238 170 134, 137, 153 272 102, 103, 105, 226 168 255 131 129 101

趙無極 展望 張漢東 張宏圖 張洹 張曉剛 張小濤 張正剛 趙能智 周春芽

149, 151, 188 192 171 183 182 187 222 258 221 227, 228, 232, 233

Z ZAO Wou-ki ZHAN Wang ZHANG Handong ZHANG Hongtu ZHANG Huan ZHANG Xiaogang ZHANG Xiaotao ZHANG Zhenggang ZHAO Nengzhi ZHOU Chunya

N Noriyuki NAKAYAMA Yoshitomo NARA

山口藍 山本麻友香 嚴培明 楊識宏 楊啟東 楊登雄 楊茂林 楊仁明 楊三郎 楊英風 葉子奇 尹坤 尹鍾錫 余承堯 姚瑞中 俞慎固

6


101

Sam YU

(Taiwanese, b. 1960)

Vase of Flowers 2008 Oil on canvas 53 x 45.5 cm Signed lower right Sam Yu in Chinese and dated 2008.6.8

NT$ 60,000-100,000 US$ 2,000-3,300 HK$ 15,000-24,000

俞慎固 花 2008 油彩 畫布 53 x 45.5 cm 簽名右下:俞慎固 2008.6.8


102

Tzu-chi YEH

(Taiwanese, b. 1957)

Mother's Day 1998 Tempera and oil on linen 30.5 x 45.5 cm Signed lower right Tzu-chi in Chinese and dated 1998

葉子奇

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

1998 卵彩 油彩 亞麻布 30.5 x 45.5 cm 簽名右下:子奇 1998

8

母親節


103

Tzu-chi YEH

(Taiwanese, b. 1957)

The Morning in Brooklyn 1991-1996 Tempera and oil on linen 25.5 x 101.5 cm Signed lower left Tzu-chi in Chinese and dated 91-96

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

葉子奇 布魯克林的清晨 1991-1996 卵彩 油彩 亞麻布 25.5 x 101.5 cm 簽名左下:子奇 91-96


104

PANG Jiun

(Chinese, b. 1936)

Vase of Flowers 2001 Oil on canvas 52 x 44.5 cm Signed lower left Pang Jiun in Chinese and dated 2001 With one seal of the artist

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

10

龐均 花 2001 油彩 畫布 52 x 44.5 cm 簽名左下:龐均 2001年 鈐印右下:均


105

Tzu-chi YEH

(Taiwanese, b. 1957)

Nostalgia from the Bathroom 1989-1992 Tempera and oil on linen 76.5 x 96.5 cm Signed lower right Tzu-chi in Chinese and dated 1989-92

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

葉子奇 浴室裡的鄉愁系列 1989-1992 卵彩 油彩 亞麻布 76.5 x 96.5 cm 簽名右下:子奇 1989-92


106

HWANG Jyi

(Taiwanese, b. 1953)

黃楫

Running in the Field ILLUSTRATED: Hwang Jyi 1996, Galerie Elegance, Taipei, 1996, p. 99 & p. 194

1991 油彩 畫布 81 x 65 cm 簽名左下:楫 1991 簽名畫背:鄉間慢跑 黃楫 1991

NT$ 200,000﹣400,000 US$ 6,700-13,300 HK$ 49,000-98,000

圖錄: 《黃楫繪畫全集》,愛力根藝術有限公司, 台北,1996,頁99與頁194

1991 Oil on canvas 81 x 65 cm Signed lower left Jyi in Chinese and dated 1991 Titled on the reverse Running in the Field in Chinese, signed Hwang Jyi in Chinese and dated 1991

12

鄉間慢跑


107

John WAY

魏樂唐 抽象

(Chinese-American, b. 1921)

Abstraction 1991 Oil on canvas 75 x 60 cm Signed lower center John Way in English and dated '91

ILLUSTRATED: John Way, Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 147

1991 油彩 畫布 75 x 60 cm 簽名下方:John Way '91

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

圖錄: 《魏樂唐八十回顧》,上海美術館,上海, 2001,彩色圖版,頁147


108

Ai YAMAGUCHI (Japanese, b. 1977)

Shobu-san & Kirarimaru (a set of 2) 2000 Acrylic and foam rubber on canvas mounted onto board 24 x 17 cm (x2) Signed on the reverse ai in English and dated 2000 (both)

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

14

山口藍 菖蒲與武士(2件1組) 2000 壓克力 海綿橡膠 畫布 裱於木板 24 x 17 cm (x2) 簽名畫背:ai 2000 (2件)


109

Tetsutaro KAMATANI (Japanese, b. 1979)

Happy Paradise - 29 2009 Acrylic on canvas 91 x 91 cm Titled on the reverse Human Paradise "Happy Paradise - 29" in English, signed Kamatani Tetsutaro in English and dated 2009

NT$ 200,000-300,000 US$ 6,700-10,000 HK$ 49,000-73,000

鎌谷徹太郎 快樂天堂─29 2009 壓克力 畫布 91 x 91 cm 簽名畫背:H u m a n P a r a d i s e 「H a p p y Paradise - 29」 Kamatani Tetsutaro 2009


110

Ryoko KATO (Japanese, b. 1982)

Look For 2006-2007 Oil on canvas 52.5 x 45.5 cm Titled on the reverse Look for in Japanese and English, signed Ryoko Kato in English and dated 2006-2007

NT$ 220,000-350,000 US$ 7,300-11,700 HK$ 54,000-85,000

16

加藤遼子 尋找 2006-2007 油彩 畫布 52.5 x 45.5 cm 簽名畫背:「さがす」"L o o k f o r" Ry o k o Kato 2006-2007


111

KIM Jee Hye (Korean, b. 1976)

Bookshelves Landscape 2008 Acrylic on canvas 97 x 161 cm Signed lower right Kim Jee Hye in Korean and dated 08 Signed on the reverse KIM JEE HYE in English, inscribed 97 x 161 cm, acrylic on canvas, dated 2008 and signed KIM J.h. in English

NT$ 280,000-350,000 US$ 9,300-11,700 HK$ 68,000-85,000

金池惠 書架風景 2008 壓克力 畫布 97 x 161 cm 簽名右下:김지혜 08 簽名畫背:K I M J E E H Y E 97 x 161 c m acrylic on canvas 2008 KIM J.h.


112

Noriyuki NAKAYAMA (Japanese, b. 1968)

Nineteen 2008 Acrylic on canvas 146 x 112 cm Signed on the reverse NAKAYAMA NORIYUKI in English and dated '08

NT$ 350,000-450,000 US$ 11,700-15,000 HK$ 85,000-110,000

18

中山德幸 十九歲 2008 壓克��� 畫布 146 x 112 cm 簽名畫背:'08 NAKAYAMA NORIYUKI


113

Ryoji SUZUKI (Japanese, b. 1973)

Boss 2008 Oil on canvas 162 x 130 cm Signed lower right Ryoji Suzuki in English and dated 2008 Titled on the reverse Boss in Japanese, signed Ryoji Suzuki in English and dated 2008

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 110,000-134,000

鈴木良治 社長 2008 油彩 畫布 162 x 130 cm 簽名右下:Ryoji Suzuki 2008 簽名畫背:「社長」Ryoji Suzuki 2008


114

Tony WONG

(Chinese-American, b. 1948)

Persuasion

黃榮禧

1996 Oil on canvas 130 x 125 cm Titled on the reverse Persuasion in English, inscribed oil/c, 51" x 49", signed T. Wong in English and dated 96

1996 油彩 畫布 130 x 125 cm 簽名畫背:"Persuasion" oil/c 50" x 49" T. Wong 96

ILLUSTRATED: Tony Wong, Lin & Keng Gallery, Taipei, 1996, color illustrated, pp. 8-9 Solitude in Paradise – Tony Wong's Artistic Journey, Lin & Keng Gallery, Taipei, 2009, color illustrated, p. 77

20

說服

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

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 98,000-146,000

圖錄: 《黃榮禧》,大未來畫廊,台北,1996,彩 色圖版,頁8-9 《桃源孤旅-黃榮禧的藝術歷程》,大未來 畫廊,台北,2009,彩色圖版,頁77 附大未來畫廊開立之原作保證書


115

楊茂林

YANG Mao-lin

圓山紀事 M9301

(Taiwanese, b. 1953)

1993 油彩 壓克力 畫布 117 x 80 cm 款識中央:MADE IN TAIWAN

Yu n M o u n t a i n M e m o r a n d u m M9301 1993 Oil and acrylic on canvas 117 x 80 cm Inscribed center MADE IN TAIWAN in English EXHIBITED: The Exclamation Mark of Eastern and Western, Lin & Keng Gallery, Taipei, February 27 – March 16, 1993 Yang Mao-lin, Galerie Pierre, Taichung, October, 1993

  ILLUSTRATED: The Exclamation Mark of Eastern and Western, Lin & Keng Gallery, Taipei, 1993, color illustrated, pp. 38-39 Yang Mao-lin - Dayuan Memorandum, Galerie Pierre, Taichung, 1993, color illustrated, p. 13

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 122,000-171,000

展覽: 「東方與西方的驚嘆號」,大未來畫廊,台 北,展期自1993年2月27日至3月16日 「楊茂林個展」,臻品藝術中心,台中,展 期1993年10月 圖錄: 《東方與西方的驚嘆號》,大未來畫廊, 台北,1993,彩色圖版,頁38-39 《楊茂林大員紀事》,臻品藝術中心,台 中,1993,彩色圖版,頁13


116

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series Flesh Weapons - Warship 2006 Oil on canvas 145 x 195 cm Titled on the reverse Pork Belly Series - Flesh Weapons - Warship in Chinese, Chang-Ling in Chinese and dated 2006

NT$ 280,000-350,000 US$ 9,300-11,700 HK$ 68,000-85,000

常陵 五花肉系列–肉兵器–大戰艦 2006 油彩 畫布 145 x 195 cm 簽名畫背:五花肉系列–肉兵器–大戰艦 常陵 2006

常陵的「五花肉」系列是一部肉世界的文明 演進大史,以精神為滋養形成肥瘦穿插的多 層次進化。常陵企圖架構的肉世界,既非本 質也非表面的欲望而已,更是鮮紅如棗的血 肉,是溜光水滑的肥油,流竄奔騰於天地之 間。借著肉元素與文化冷酷因素碰撞所產生 火花般的灼熱變化的研究 方式。肉慾、情 慾、食慾及無限擴大或吞噬的種種在肉世界 當中生育出的龐大發聲器。 從「五花肉」系列作品來看,此幅作品《五 花肉系列—肉兵器—大戰艦》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 單純欲望,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 海軍戰艦、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。 象徵欲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

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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。

Chang-Ling’s “Pork Belly Series” is an epic history of the progress of civilization in the world of the flesh, with multiple levels of fat and lean progression nurtured by the spirit. The world of the flesh that Chang-Ling attempts to create is neither the essence or the surface of desire; it is fresh-cut, blood-soaked meat and shiny, slippery fat cavorting across the land. Lust, passion and appetite limitlessly expand and devour, creating vocal chords in this world of the flesh. Looking at the “Pork Belly Series”, we can see that this work, “Flesh Weapon – Battleship” is the act of the artist returning to his stores of memory, excavating his roots to face setbacks from the environment. He takes the sweet innocent desire of his childhood love for war toys, using re-creation to express the clash of cultures he experienced while seeking an education as an adult. These “Flesh Weapons”, navy boats, planes, tanks and submarines come together to create a different world made of blood and piles of flesh with many different levels and shades fused together. Here, fragile flesh, a symbol of desire, has been turned into a bloody instrument of war. These Western toys of childhood memory are no longer just for play-killing; now they are permeated with an air of real violence. This hazy composition of flesh and blood alludes to the artist’s awareness and resistance towards the cultural colonialism of the powerful West. Drawing from the wellspring of his own self conscious, he fetters out the complex cultural identity issues shared by so many Taiwanese of this era. It is like an all out counterattack against an invisible foreign culture in the darkness of the battlefield, and a pursuit of the essence of culture, except that it is carried out in a dark world where nothing is visible. Chang-Ling carries forward in this somewhat provocative and risky exploration, evoking the feeling of some terrifying undercurrent flowing beneath.


117

JAN Chin-shui (Taiwanese, b. 1953)

Frosted Rock 2009-2010 Mixed media on canvas 162 x 112 cm Signed lower left Chin-shui in Chinese and dated 2010 Signed on the reverse Jan Chin-shui in Chinese, dated 2009 and inscribed 100P, titled Frosted Rock in Chinese

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 73,000-122,000

詹金水 絕壁千丈獨留白 2009-2010 綜合媒材 畫布 162 x 112 cm 簽名左下:金水 2010 簽名畫背:詹金水 2009年 100P 絕壁千丈獨 留白

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118

CHIU Ya-tsai

(Taiwanese, b. 1949)

Side View of a Boy 1993 Oil on canvas 116.5 x 91.5 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 122,000-171,000

邱亞才 少男側面像 1993 油彩 畫布 116.5 x 91.5 cm 簽名右下:邱亞才

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119

YANG Chihung (Taiwanese, b. 1947)

Growth and Decay 2008 Oil on canvas 112 x 161.5 cm Signed on the reverse Chihung Yang in English, titled Growth And Decay in English and dated 2008

NT$ 650,000-800,000 US$ 21,700-26,700 HK$ 159,000-195,000

楊識宏 成長與枯朽 2008 油彩 畫布 112 x 161.5 cm 簽名畫背:Chihung Yang Growth And Decay 2008

楊識宏1979年單槍匹馬移居美國,與來自全 世界當紅的當代藝術家在紐約發展,可見其 決心與膽識;1984年更獲得首位美國國家 P.S.1大獎的華人藝術家。2000年以後,楊識 宏希望像有造型能力的雕刻家一樣,試圖將 無形的時間雕琢鏤刻,留下一些具體而微的 斧鑿痕跡。他的創作猶如雕刻時光,作品是 最具體的存證。廢寢忘食、苦心孤詣無非是 為了留下真實的一點、一滴、一筆、一劃。 藝術作品是出自於藝術家之手,因此傑出的 作品背後必定有一傑出的藝術心靈,真正感 動我們的,其實是那個藝術家無法取代的思 想與心靈。 此件作品《生長與枯朽》反映楊識宏對於生 命的體悟與超脫,楊識宏在紐約畫室有大片 植物、盆栽,就如同是個小宇宙;能夠展現 生命在不同階段的榮枯。一般人可能把照顧 植物當作只是照顧植物,可是楊識宏在這個 每天的例行性行為裡面,卻不單單只看到植 物的繁榮與枯敗,更進 一步說,他在植物的 每個階段樣貌看出生命如何超脫與留下的想 像性,這些使得他的藝術有著時間流動影 子,但卻在這流動的過程裡,讓人感受到體 溫。美是生命的奧妙,它不只存在於眼睛, 更存在於楊識宏巨集作品當中。

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Yang Chihung immigrated alone to America to develop alongside the most popular artists from around the world in New York, a mark of his determination and courage. In 1984 he became the first person of Chinese descent to win top honors at the P.S.1 Contemporary Art Center. In 2000, out of a wish to be like a sculptor with powerful formative abilities, he began attempting to carve shapeless, intangible time, scaling down its traces in his work. His creations are like carving in time, and his works are the most concrete form of evidence for its passing. His painstaking efforts were all just to leave something real, a stroke, a line, a trace. Any artwork springs from the hand of the artist, so behind every masterpiece is the soul of a great artist. What really moves us are the irreplaceable ideas and spirit behind the artwork. This work, “Growth and Decay”, reflects Yang’s profound, detached insights about life. Yang keeps many plants and bonsai trees in his studios; it is like his own little universe, which he uses to present life in its different stages of growth and withering. Most people view caring for plants as simply the act of caring for plants, but Yang Chihung sees more than just the flourishing and withering of plants. In the various stages of the plants’ lives, Yang can see the imaginative ways in which life persists and passes. This imbues his works with the shadows of time’s passing in a way that allows people to feel the temperature of the passage of time. Beauty is the secret of life. It exists not only in the eye, but also within Yang’s art.


120

Michell HWANG (Taiwanese, b. 1948)

Living in Beijing 2007 Oil on canvas 182 x 152 cm Signed on the reverse Che, titled Living in Beijing in Chinese and dated 2007, inscribed 152 x 182, 120F, oil painting in Chinese ILLUSTRATED: The Empire Strikes Back - Episode I - The Return of the King, Impressions Art Gallery, Taipei, 2008, color illustrated, p. 42

NT$ 950,000﹣1,300,000 US$ 31,700-43,300 HK$ 232,000-317,000

黃銘哲 人在北京 2007 油彩 畫布 182 x 152 cm 簽名畫背:哲 2007 人在北京 152 x 182 120號 油畫 圖錄: 《帝國大反擊─首部曲─王者再現》,印象 畫廊當代館,台北,2008,彩色圖版,頁42

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121

CHUANG Che (Taiwanese, b. 1934)

Variation on Shesshu's Broken Ink Landscape 2003 Oil on canvas 168 x 127 cm Signed lower right Chuang Che in Chinese and dated 03

NT$ 950,000﹣1,200,000 US$ 31,700-40,000 HK$ 232,000-293,000

莊喆 雪舟破墨山水變奏 2003 油彩 畫布 168 x 127 cm 簽名右下:莊喆 03

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122

LIEN Chien-hsing (Taiwanese, b. 1962)

Preaching of Peppa Pig 2006 Oil on canvas 112 x 194 cm Signed lower left Lien Chien-hsing in Chinese and dated 2006 Titled on the reverse Preaching of Peppa Pig in Chinese, signed Lien Chien-hsing in Chinese, dated 2006 and inscribed 120P ILLUSTRATED: Lien Chien-hsing, Eslite Gallery, Taipei, 2006, color illustrated, pp. 28-29

NT$ 950,000-1,800,000 US$ 31,700-60,000 HK$ 232,000-439,000

連建興 豬小妹說法 2006 油彩 畫布 112 x 194 cm 簽名左下:連建興 2006 簽名畫背:豬小妹說法 連建興 2006 120P 圖錄: 《連建興》,誠品畫廊,台北,2006,彩色 圖版,頁28-29

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123

John WAY

(Chinese-American, b. 1921)

Nine Scenarios Beyond the Sky (a set of 9) 1977-1978 Oil on paper 48 x 60.5 cm (x9) Signed John Way in English and dated '77 (x5) Signed John Way in English and dated '78 (x4)

NT$ 1,300,000-2,000,000 US$ 43,300-66,700 HK$ 317,000-488,000

魏樂唐 天外九象 (9件1組) 1977-1978 油彩 紙本 48 x 60.5 cm (x9) 簽名:John Way '77 (x5); John Way '78 (x4)

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124

Michell HWANG (Taiwanese, b. 1948)

Hope 1990-1991 Oil on canvas 182 x 136.5 cm Titled on the reverse Hope in Chinese, dated 1990.91 and signed Che in Chinese EXHIBITED: Michell Hwang Exhibition, Taiwan Museun of Art, Taichung, March 10 - April 25, 1992 Michell Hwang Solo Exhibition, Kaohsiung Museum of Fine Art, Kaohsiung, October 23 December 27, 1998 ILLUSTRATED: Michell Hwang 1992, Taiwan Museun of Art, Taichung, 1992, color illustrated, pp. 84-85

NT$ 1,800,000-2,400,000 US$ 60,000-80,000 HK$ 439,000-585,000

黃銘哲

此幅作品《希望》,畫面的主體是向中央傾 斜著頭部的女人,冷漠的表情夾帶著一絲輕 愁,左手托著一隻白色的信鴿,右手環抱一 個小孩;由右方向原生質般伸向中央靠近女 人的形體是男人,頭上兩端長著尖角,以跪 姿和帶有悔意的表情作懇求狀,儘管色彩絢 爛,卻掩飾不了作者留在畫中的傷感。 (參閱

stretching out towards the woman from the right is a man with two horns protruding from his head. He kneels with a regretful, imploring expression. Though the colors are bright and splendid, they cannot conceal the anguish the painter has left in the picture. (Wang Che-hsiung,

自王哲雄,《黃銘哲》,台灣省立美術館出版,台中,

pp. 4-5)

1992年出版,頁4-5)

或許藝術家希望藉著畫面傳達出他對家庭、 婚姻課題的意念,用「敘事性」的方式詮釋 象徵性的人物。黃銘哲的作品,總像是懸浮 在天空中,在全然自我的國度裡,豪放的筆 刷意圖消減具象形體的動機,透過動態線條 的勾勒與重複交疊的色彩,創造出節奏感與 張力。作品中沒有固定手法描繪的張牙舞 爪,直覺的呈現了藝術家的精神本質,觀者 透過畫面將形象個人化,將感情符號化,對 心靈做出更深層的探索。

希望 1990-1991 油彩 畫布 182 x 136.5 cm 簽名畫背:臻之希望 1990.91 哲 展覽: 「黃銘哲畫展」,台灣省立美術館,台中, 展期自1992年3月10日至4月25日 「黃銘哲個展—堅持.延續」,高雄市立美 術館,高雄,展期自1998年10月23日至12月 27日 圖錄: 《黃銘哲1992》,台灣省立美術館,台中, 1992,彩色圖版,頁84-85

38

Hwang Ming-che, Taiwan Museum of Art, Taichung, 1992,

In this work, entitled “Hope”, the focus of this work is a woman whose head tilts to the center with a slight touch of apprehension in her cold facial expression. Her left hand is holding a messenger pigeon, and she cradles a child in her right arm. The seemingly primordial body

Perhaps the artist wishes to use the picture to convey his ideas about the topics of family and marriage, to use a ‘narrative’ style to interpret these symbolic figures. Michell Hwang’s works always seem to be suspended in the air, entirely in their own realm. The bold brushstrokes reduce the intent of the concrete forms, while the flowing lines and alternating colors create a sense of rhythm and tension. There is no set depictive technique in the work; instead it directly presents the spiritual essence of the artist. Through this image, the viewer can individualize the forms, turn emotions into icons and engage in a deeper exploration of the soul.


125

SHIY De-jinn

(Taiwanese, 1923-1981)

Calligraphy in Li Shu 1979 Ink on paper 128.5 x 68 cm Signed upper center Shiy De-jinn in Chinese With one seal of the artist PROVENANCE: Sotheby's Taipei, April 14, 1996, lot 51

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

席德進 隸書 1979 水墨 紙本 128.5 x 68 cm 簽名中上:席德進 鈐印中間:席德進 來源: 蘇富比拍賣,台北,1996年4月14日,編號51

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126

LI Chun-shan

李仲生 無題

(Taiwanese, 1912-1984)

Untitled Watercolor and ink on paper 26.5 x 36 cm PROVENANCE: Spring Gallery, Taipei

This painting is to be sold with a certificate of authenticity signed by Su Rui-pin, Hsiao Chin and Wu Hao, etc..

NT$ 140,000-220,000 US$ 4,700-7,300 HK$ 34,000-54,000

水彩 墨 紙 26.5 x 36 cm 來源: 春之藝廊,台北 附蘇瑞屏、蕭勤、吳昊等人之簽名原作保 證書


127

SANYU

(Chinese-French, 1901-1966)

Study of Cat and Horse (a set of 2) 1931 Ink and pencil on paper / envelope mounted on board 11 x 18 cm (upper) 11 x 14 cm (lower) Signed Yu in Chinese and SANYU in French (upper) Signed Yu in Chinese, SANYU in French and dated 1931 (lower) PROVENANCE: Collection of Mr. and Mrs. Neyrinck, France (friends of the artist in 1920s-1930s) Christie's, Hong Kong, May 29, 2005, lot 271

NT$ 200,000-400,000 US$ 6,700-13,300 HK$ 49,000-98,000

常玉 貓與馬的速寫(2件1組) 1931 水墨 鉛筆 紙本/信封裱於木板 11 x 18 cm (上) 11 x 14 cm (下) 簽名右下:玉 SANYU (上) 玉 SANYU 1931 (下) 來源: 納瑞克先生夫婦收藏,法國(藝術家 1920-1930年代友人) 佳士得拍賣,香港,2005年5月29日, 編號271

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128

SANYU

(Chinese-French, 1901-1966)

Figure Ink on paper 45 x 28 cm With one seal of the artist

This painting is to be sold with certificate of authenticity issued by Dimensions Art Center, Taipei.

NT$ 180,000-280,000 US$ 6,000-9,300 HK$ 44,000-68,000

常玉 人物 水墨 紙本 45 x 28 cm 鈐印右下:常玉 附帝門藝術中心開立之原作保證書


129

YAO Jui-chung (Taiwanese, b. 1969)

Wonderful - Making Love at Hehuan Mountain 2007 Ink and color, hand made paper, and gold foil 100 x 70 cm

NT$ 140,000-240,000 US$ 4,700-8,000 HK$ 34,000-59,000

44

姚瑞中 忘德賦─合歡煙雲 (臨董源《洞天山堂》) 2007 彩墨 手工紙本 金箔 100 x 70 cm


130

CHEN Chi-kwan (Taiwanese, 1921-2007)

Storm 1950s Mixed media on paper 60 x 25.5 cm With one seal of the artist PROVENANCE: Weyhe Gallery, New York

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

陳其寬 風暴 1950年代 綜合媒材 紙板 60 x 25.5 cm 鈐印右下:陳其寬印 來源: 懷伊畫廊,紐約


131

YU Cheng-yao

余承堯

(Taiwanese, 1898-1993)

高山鳴泉

Rushing Water Amidst Towering Peak

PROVENANCE: Sotheby's, Taipei, October 17, 1999, lot 105

彩墨 紙本 67.5 x 44.5 cm 簽名左上:余承堯作 鈐印左上:余承堯印

Ink and color on paper 67.5 x 44.5 cm Signed upper left Yu Cheng-yao in Chinese With one seal of the artist

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

來源: 蘇富比拍賣,台北,1999年10月17日, 編號105

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132

LIU Kuo-sung (Taiwanese, b. 1932)

劉國松

White All Over When Sunset II 1969 Ink and color on paper 55 x 86 cm Signed upper right Liu Kuo-sung in Chinese and dated 1969 With one seal of the artist Signed on the reverse Liu Kuo Sung in Chinese and English, titled White All Over When Sunset II in Chinese

日落紅湖白(二)

PROVENANCE: Sotheby's, Taipei, April 11, 1999, lot 16

NT$ 240,000-350,000 US$ 8,000-11,700 HK$ 59,000-85,000

1969 彩墨 紙本 55 x 86 cm 簽名右上:劉國松 一九六九 鈐印右上:劉國松 簽名畫背:劉國松 LIU KUO SUNG 日落江湖白(二) 來源: 蘇富比拍賣,台北,1999年4月11日,編號16


133

SHIY De-jinn

(Taiwanese, 1923-1981)

Chinese Flowering Crabapple 1975 Watercolor on paper 67 x 48.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1975

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 134,000-183,000

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席德進 海棠花 1975 水彩 紙本 67 x 48.5 cm 簽名左下:席德進 1975


134

YANG San-lang (Taiwanese, 1907-1995)

The Ancient City of Spain Oil on canvas 44 x 51 cm Signed lower right S. Yang in English

楊三郎 This painting is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.

NT$ 650,000-850,000 US$ 21,700-28,300 HK$ 159,000-207,000

西班牙古都 油彩 畫布 44 x 51 cm 簽名右下:S. Yang 附梵藝術中心開立之原作保證書


135

YANG Chihung (Taiwanese, b. 1947)

Passing Through 2006 Acrylic on canvas 170 x 220 cm Titled on the reverse Passing Through in English, signed Chihung Yang in English and dated 2006 ILLUSTRATED: Inner Vision Human Condition - Chihung Yang Solo Exhibition, National Art Museum of China, Beijing, 2007, color illustrated, pp. 112-113

NT$ 950,000-1,800,000 US$ 31,700-60,000 HK$ 232,000-439,000

楊識宏 穿越 2006 壓克力 畫布 170 x 220 cm 簽名畫背:Chihung Yang Passing Through 2006 圖錄: 《心象情境:2007楊識宏北京中國美術館個 展》,亞洲藝術中心,北京,2007,彩色圖 版,頁112-113

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136

CHUANG Che (Taiwanese, b. 1934)

Glorious Rock 2007 Oil on canvas 121.5 x 203 cm Signed lower right Chuang Che in Chinese and dated 2007 Titled on the reverse Glorious Rock in Chinese and dated 2007 ILLUSTRATED: Chuang Che - Deep Ridge, Remote Way - Solo Exhibition in National Art Museum of China, Asia Art Center Co., Ltd., Taipei, 2007, color illustrated, p. 165

NT$ 1,200,000﹣2,200,000 US$ 40,000-73,300 HK$ 293,000-537,000

莊喆 蒼岩生輝 2007 油彩 畫布 121.5 x 203 cm 簽名右下:2007 莊喆 簽名畫背:蒼岩生輝 2007 圖錄: 《莊喆:嶺深道遠》,亞洲藝術中心, 台北,2007,彩色圖版,頁165

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137

YANG San-lang (Taiwanese, 1907-1995)

Sunrise 1980 Oil on canvas 53 x 65 cm Signed lower left S. Yang in English

NT$ 1,500,000-1,700,000 US$ 50,000-56,700 HK$ 366,000-415,000

楊三郎 旭日東昇 1980 油彩 畫布 53 x 65 cm 簽名左下:S. Yang

在台灣早期藝術家中知名度最高,對台灣 美術推動有直接的貢獻(台陽展),楊三 郎為代表之一,早年離鄉背井,飄洋過海至 日本習畫,進入關西美術學院,之後曾遊學 歐洲,並入選法國秋季沙龍。之前國民黨主 席連戰破冰之旅便是攜帶一幅楊三郎的畫作 《野柳奇岩》贈予中國國家主席胡錦濤,可 見楊三郎在美術史的重要地位。 藝術家擅長於海景的表現,特別是海景與日 出的結合,展現澎湃的氣勢感與偉大願景的 嚮往。在此幅作品《旭日東昇》中,天色由 淡藍轉鵝黃,旭日東昇前淡遠的意象。構圖 上中央部份海浪以較深的藍,拍打著前頭的 白色浪花,表現出既熱情、富張力的律動和 動勢,大自然充滿變化的神秘原動力蘊含其 中。畫家運用幾個重要的組成部分,以粗獷 的岩石表現、高彩度的藍天、碧海、高對比 度的手法將大自然的極致景象完整呈現,而 海浪與岩石在此交織成黃金海岸。 楊三郎一生奉行印象派注重戶外寫生、著重 日光、時序下的光影變化,透過筆觸及原料 肌理所造就的量感去表現海 洋的浪花、天空 的雲層,在台灣前輩藝術家中聲望崇高, 曾獲頒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。

Yang San-lang is a founding member of the Taiyang Artist Association, a group of famous early Taiwanese artists who made direct and lasting contributions to the development of the arts in Taiwan. He left home in his youth, travelling to Japan, where he entered the Kansai Art Institute, and then on to Europe for further studies, eventually entering the Autumn Salon

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in France. When Kuomintang Party Chairman Lien Chan travelled to Mainland China for the historic ice-breaking visit, he presented Chinese President Hu Jintao with Yang’s painting of the Yeliu Rock Formations. We can see his important position in art history. Yang excels at depicting seascapes, especially those that combine the sea with the sunrise, conveying surging momentum and a positive outlook. In this work, "Sunrise", the entire sky fades from a bright blue to a faint yellow, with peaceful, breathtaking imagery. The waves in the center of the painting are rendered in deep blue with white foam, expressing movement and rhythm in passion and tension and incorporating the mysterious forces of change in nature. The artist has applied several important components in the artwork, using the coarse depiction of the rocks, the colorful sky and sea, and high-contrast techniques to fully convey the natural scenery, while the intermingling of the waves and the rocks form a golden coastline across the artwork. Throughout his life, Yang San-lang has pursued the impressionist approach, focusing on painting from life outdoors, emphasizing sunlight and observing the changes of light and shadow over time. He expresses the waves of the sea and the clouds in the sky through a sense of quantity created by the texture of brushstrokes. He is held in high regard as a forefather of Taiwanese art, and was awarded the Cultural Medal, the highest mark of artistic achievement. Among the great masters of the Chinese-speaking world, none can compare in terms of the vitality of the moments he captures, the layering of his spaces, and the profound spirit he expresses in his work.


138

John WAY

(Chinese-American, b. 1921)

Vermilion 2002 Oil on canvas 152 x 127 cm Signed lower right John Way in English and dated 2002 Titled on the reverse VERMILION in English and Chinese, dated JANUARY 2002, inscribed 50" x 60", 127 cm x 152 cm and signed John Way in English

NT$ 1,800,000-2,400,000 US$ 60,000-80,000 HK$ 439,000-585,000

魏樂唐 硃砂紅 2002 油彩 畫布 152 x 127 cm 簽名右下:John Way 2002 簽名畫背:VERMILION JANUARY 2002 50" x 60" 127 cm x 152 cm 硃砂紅 John Way

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139

CHU Teh-chun

(Chinese-French, b. 1920)

Composition No. 288 1968 Oil on canvas 62 x 65 cm Signed lower right Chu Teh-chun in English and dated 68 Signed on the reverse Chu Teh-chun in English and Chinese, dated 1968 and titled No. 288

NT$ 1,800,000-2,800,000 US$ 60,000-93,300 HK$ 439,000-683,000

朱德群 構圖 No. 288 1968 油彩 畫布 62 x 65 cm 簽名右下:CHU TEH-CHUN 68 簽名畫背:CHU TEH-CHUN 朱德群 1968 No. 288

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1960年朱德群正式成為「巴黎畫派」的成員 之一,他的繪畫風格臻於成熟,偏愛採單色 的繪畫環境。他發現了水墨在紙上的渲染 效果 ,可以產生迷人的韻味,豐富了他在 油畫創作上的發展,評論家李既鳴稱19631972年的作品為「凝彩時期」:「在所謂 的凝彩時期的作品,朱德群運用中國的陰 陽五行的觀念,整個畫面上以深色為底的 話,必然有一小部份非常明亮的淺色,像 透過密集的光線,穿透了萬重煙雲直射眼 前,如果以混濁的色調做整張的主體,則 必然可以在畫面上找到一些色彩清新鮮豔 的色塊做主題的訴說 。朱德群擅長運用色 彩 ,是有目共睹的,無論高彩度的鮮紅、 寶藍、翠綠,在他的手下都成了馴服的 臣僕,儘管理論上互為敵對的色相,安排 在他的畫面上,又顯得調和。在畫面上, 他習慣將要表達的材料,像填海似的堆砌 成一座小丘,再以此為中心,大筆拖向四 方,自然流露的律動和筆觸 ,就是他的技 巧。」(參閱李既鳴,〈朱德群的繪畫歷程〉,《美術 論叢15:中國—巴黎—早期旅法中國畫家研究》,台北市 立美術館,台北,1989,頁121)

《構圖No. 288》作品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。

In 1960, Chu Teh-chun officially became a member of the École de Paris. At that time, his style was maturing rapidly, and he developed a predilection for largely monochromatic compositions. Chu realized that ink-andwash techniques with their fluid effusion of colour were eminently suited for the creation of enchanting rhythms and gentle harmonies, and the application of this discovery further enriched his oil paintings. One critic, Li Jiming, has dubbed the years from 19631972 Chu's "condensed colour period" writing about the paintings from those years: 'In what I call the condensed colour period, Chu Tehchun's work breathes the spirit of China's

traditional philosophy of yinyang and the five elements ("yinyang wuxing" that stresses the close interaction between humanity and the forces of nature. Where the ground colour is black, covering almost the entire canvas, Chu will yet find some small space to apply exceedingly bright pastel tones. These brighter hues have an incredible density, as if illumined by a powerful light source and piercing directly through multiple layers of mist and vapour. While the main motif may be expressed in subdued and muddy shades, this is compensated for with dazzling, saturated hues that are applied here and there in small swabs to enhance our understanding of the image conveyed. Chu's outstanding skill in the use of colour is generally acknowledged. Even the brightest red, the deepest sapphire or the freshest green are never allowed to dominate the entire composition, but are skillfully placed in a larger context. Even strongly contrasting or discordant hues will magically appear united in harmony under Chu's delicate brushstrokes. Chu heaps layer upon layer of colour, as if filling up an ocean of possibilities with concrete shapes and motifs, rising like a hill in the painting's centre of gravity, and sending out rays of fluid rhythm in all directions, effervescent and natural for all their elaborate sophistication.' (cf. Li Jiming, 'Chu Teh-chun's Road as a Painter' in Fine Art Studies 15: The China-Paris Connection. Studies on the First Generation of Chinese Painters in France, Taipei: Taipei Fine Arts Museum, 1989, p. 121)

The painting "Composition No. 288" 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 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 pure-hearted and clear-minded painter. His paintings in the 1960s were less in quantity, but greatly superior in quality.


140

LIN Fengmian (Chinese, 1900-1991)

Reeds and Wild Geese Late 1970s Ink and color on paper 40 x 50.5 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Ancient collection of Chung Kiu Products Emporium Ltd., Hong Kong Collection of Sanhuai House, Hong Kong ILLUSTRATED: 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, p. 19

NT$ 1,800,000-2,800,000 US$ 60,000-93,300 HK$ 439,000-683,000

林風眠 蘆蕩飛雁圖 1970年代末期 彩墨 紙本 40 x 50.5 cm 簽名右下:林風眠 鈐印右下:林風眠印 來源: 香港中僑國貨公司 香港三槐堂收藏 圖錄: 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,頁19

蘆雁系列是林風眠最接近傳統中國畫的主題 之一,意境上也接近中國畫,其中蘆葦的畫 法,與傳統筆法有深刻的聯繫,來自瓷器上 的線條;雁鳥的造型師法四川漢畫的飛禽造 型;因此,林風眠的蘆雁畫頗得其他老國畫 家的推崇。 林風眠畫中的飛禽有時說是「雁」,有時也 說成「鶩」,而鶩和雁同族。雁鳥屬於群飛 性的禽鳥,遭逢變故時會有失群的孤雁,林 風眠的蘆雁風景畫可說是最有個人特色的題 材之一。天空、堤岸、水由上而下,平行展 開,雁鳥皆從右向左疾速飛進畫面,具有動 感與詩意。他所繪的雁鳥,或一隻,或兩三 隻,在陰雲密佈時分,蘆葦偃抑中逆風而 行,頗有疾風知勁草、板蕩識忠臣的象徵性 意涵。 1962年,林風眠在〈抒情、傳神及其他〉一 文,特別談到了最初蘆雁畫的創作靈感,它 是一段在杭州西湖的巧遇。他說:「多年 前,我住在杭州西湖,有一個時期老是發風 疹病,醫生和家人要我天天去散步,我就天 天午後一個人到蘇堤上,來回走一次,當 時正是秋季,走來走去,走了三四個月,飽 看了西湖的景色。有時在平靜的湖面上一群 山鳥低低飛過水面的蘆葦,這些畫面,深入 在我的腦海裡,但是我當時並沒有想畫它。 解放後我住在上海,偶然想起杜甫的一句詩 『渚清沙白鳥飛回』,…我開始作這類的 畫。畫起來有時在湖上,有時像在平坦的江 上,後來發展到各種不同的背景而表達不同 的意境…。」 (原載於《文匯報》1962年1月5日) 杭州西湖曾是林風眠生命過程一處重要驛 站,雖然距上海不遠,然而人事更迭、身不 由己,離開杭州藝專教職後,潛居在上海, 晚年後又轉往香港。西湖上雁鳥低飛過水面

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林風眠《松林暮色》(山林飛雁圖) 2010年5月人民幣470萬4000元成交 LIN Fengmian, Wild Geese Flying Over the Forest late 1970s, ink and color on canvas, 68.5 x 69 cm RMB 4,704,000 sold in a sale of Beijing, May 2010

蘆葦的畫面,一直長留在他的記憶深處。 因此,美術史家郎紹君指出:蘆雁畫不是對 景的寫生,而是根據回憶和形象素材來畫, 更接近主張「飽遊臥看」、「搜盡奇峰打草 稿」的傳統山水畫家。但是林風眠不似傳統 山水畫家看重前人的題材、畫法與風格經 驗,他較為重視具體景物的經驗,根據他所 遺留的鉛筆畫稿,林風眠到過山林寫生,如 同西畫家為了掌握對象和特點而先繪習作。 所以,林風眠不是從模仿或改造前人的經驗 與模式,也不是全然客觀的寫景,而是從自 身的經驗不斷淬勵,力圖開創新的繪畫語 言。 此次的拍品《蘆蕩飛雁圖》早年為是香港中 僑國貨公司所有,後為香港知名收藏家三槐 堂購藏,珍藏在收藏家手中已有多年。《蘆 蕩飛雁圖》畫裡一株株勁拔的蘆葦,以快筆 掃出,如同民間瓷器上的筆觸線條,俐落蒼 勁,兩三隻雁鳥低空掠過水面,有一種速度 感。儘管厚雲罩頂,雲隙間的天光和湖水, 白粉的運用產生透明舒暢的感受。中景黃綠 色提升畫面的明亮感,是畫家難得較顯愉悅 感的 蘆雁畫。

The Reeds and Wild Geese series is one of the themes wherein Lin Fengmian most closely

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approaches traditional Chinese paintings, and its tone resembles Chinese paintings as well. The technique used to depict the reeds is closely linked to traditional brush strokes, originating from the lines painted on porcelain; the shape of the wild geese follows the bird designs of the Shichuan Han Dynasty stone reliefs; this is why Lin Fengmian’s paintings of reeds and wild geese have been admired by older masters of Chinese paintings.

scenes such as this have become imprinted on my mind though I had no intention of painting them at the time. After the Liberation I lived in Shanghai, and one day I thought of the line ‘Clear islet, white sands, the birds return’ from a poem by Du Fu...so I began painting these kinds of paintings. Sometimes the painting is set on the lake, or on a calm river, and ultimately it developed into a variety of backgrounds through which to express different tones...” (originally published in the “Wen Hui

The birds in Lin Fengmian’s paintings are sometimes called “Geese”, but sometimes “Herons”, though geese and heron belong to the same genus. Wild geese are birds that fly in flocks, but if there’s some calamity then there are lone geese as well, so Ling Fengmian’s reeds and wild geese landscape paintings are considered to be one of his most characteristic themes. There is the sky, the shoreline with water flowing from the top down and laid out horizontally. With all of the birds flying quickly into the scene from right to left, this gives an impression of movement and poetry. The geese that he paints may be alone or in twos and threes, flying through the reeds against the wind under a gloomy sky. This harks back to symbolism of strong winds bringing out the tenacity in grass, and a world in chaos revealing the loyal vassals.

Bao” on January 5, 1962)

In 1962 within the article ‘Expression, Communication and Other Matters’ Lin Fengmian mentioned that his inspiration for reeds and wild geese paintings originated from an unusual experience at West Lake in Huangzhou. He said: “Many years ago, while I was living at West Lake in Huangzhou, I kept having these rubella attacks. My family and doctor wanted me to take walks every day, so every afternoon I would walk all along the Su Levee. It was around autumn, and all this walking back and forth meant that I enjoyed the scenery at West Lake in it’s entirety for three or four months. Sometimes a flock of wild birds would sweep by low across the tranquil lake surface along the reeds, and

West Lake in Huangzhou was an important way station in Lin Fengmian’s life, and though it wasn’t far away from Shanghai, the vicissitudes of life meant that after he left his teaching position at the Huangzhou Art College, he lived quietly in Shanghai before moving to Hong Kong for his final years. The image of geese flying low across the reeds on West Lake has always remained in the depths of his memories. This is why the art historian Lang Shaojun noted: the reeds and wild geese paintings were not paintings of actual landscapes, but in fact painted from memory incorporating elements of imagery. In their conception they resembled traditional landscape artists whose ideals were “View the

林風眠《蘆灘飛雁圖》,彩墨 紙本,35 x 35 cm 香港三槐堂收藏 LIN Fengmian, Reeds and Wild Geese on the Sandbar Ink and color on paper, 35 x 35 cm Collection of Sanhuai House, Hong Kong


imagery in repose after countless journeys” and “See all the wondrous mountains before coming up with a draft”. Unlike traditional landscape artists however Lin Fengmian’s concern was not with his predecessors’ themes, techniques or styles. Instead, his focus was on the experience of actual objects. Based on the pencil drafts he left behind, Lin Fengmian had in fact sketched actual landscapes just like Western artists who would make practice sketches in order to grasp the subject and specific features. So Lin Fengmian did not imitate or modify the experience or models set by past artists, nor did he make completely true-to-life depictions of the landscape. He instead continued to refine his own personal experiences in order to create a new language of painting. The “Reeds and Wild Geese” painting listed for auction was originally in the possession of the Chung Kiu Products Emporium Ltd, then was purchased by the renowned Hong Kong collector Sanhuai House. It has been carefully preserved in the hands of the collector for many years. In the “Reeds and Wild Geese”, vigorous stalks of reeds have been created through quick, sweeping brush strokes, giving an impression of neatness and strength like the brushed lines on porcelain. Wild geese skim by low across the water in twos and threes creating a sensation of speed. Despite the heavy clouds, the rays that come through gaps in the cloud and the waters of the lake created through the use of white powder creates a sense of relief and transparency. The yellowish greenery in the middle elevates the scene’s brightness, making this a reeds and wild geese painting in which the artists has expressed a rarely seen feeling of happiness.


141

LIU Kuo-sung (Taiwanese, b. 1932)

Mountain: Tibetan Conto 48 2003 Ink and color on paper 184 x 92 cm Signed lower left Liu Kuo-sung and dated 2003 in Chinese With two seals of the artist ILLUSTRATED: Drawing from Nature - Retrospective Exhibition of Liu Kuo-sung, Zhejing Provincial Museum Zhejiang, West Lake Gallery, Zhejiang, 2006, color illustrated, p. 10

NT$ 1,500,000-2,500,000 US$ 50,000-83,300 HK$ 366,000-610,000

劉國松 山之嶺:西藏組曲四十八 2003 彩墨 紙本 184 x 92 cm 簽名左下:劉國松 二OO三 鈐印左下:劉國松印 山東青州 圖錄: 《心源造化—劉國松創作回顧展》,浙江省 博物館、浙江西湖美術館,浙江, 2006, 彩色圖版,頁10

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142

LI Chen

(Taiwanese, b. 1963)

Wisdom Bodhisattva & Fulfillment Bodhisattva 2001 Bronze, edition no. 7/8 43.5(L) x 25(W) x 36(H) cm (Left) 43(L) x 29(W) x 41(H) cm (Right) Engraved Li Chen in Chinese and English, dated 2001 and numbered 7/8 (both) ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp. 80-81 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 110-115; blackand-white illustrated, pp. 218-219 (similar version) L i C h e n i n B e i j i n g - I n S e a rc h o f S p i r i t u a l S p a c e , A s i a A r t C e n t e r, Ta i p e i , 2 0 0 8 , c o l o r i l l u s t r a t e d , pp. 40-49; black-and-white illustrated, pp. 196-197 (similar version)

NT$ 1,800,000-2,800,000 US$ 60,000-93,300 HK$ 439,000-683,000

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李真 文殊與普賢(2件1組) 2001 銅雕 7/8 43.5(長) x 25(寬) x 36(高) cm (左) 43(長) x 29(寬) x 41(高) cm (右) 簽名雕刻:李真 2001 Li Chen 7/8(2件) 圖錄: 《李真雕塑1992-2002》,亞洲藝術中 心,台北,2004,彩色圖版,頁80-81 《李真第52展威尼斯雙年展─虛空中的能 量》,亞洲藝術中心,台北,2007,彩色 圖版,頁110-115;黑白圖版,頁218-219 (另一尺寸版本) 《李真中國美術館個展─尋找精神的空 間》,亞洲藝術中心,台北,2008,彩 色圖版,頁40-49;黑白圖版,頁196-197 (另一尺寸版本)


143

LI Chen

(Taiwanese, b. 1963)

Avalokitesvara 1999 Bronze, edition no. 4/6 88 (L) x 48 (W) x 94 (H) cm Engraved Li Chen in Chinese and English, numbered 4/6 EXHIBITED: China Without Borders, headquarters of Sotheby’s, New York, June 20 – June 28, 2001 Shanghai International Biennial Urban Sculpture Exhibition, Shanghai, November 18, 2005 – March 17, 2006 The Contemporary Road of Media and Tradition - Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 – May 6, 2007 52nd International Art Exhibition – La Biennale di Venezia, Telecom Italia Future Centre, Venice, Italy, June 10 – Nov 21, 2007 ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 48 The Contemporary Road of Media and Tradition - Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 44 Li Chen in Venice 52 nd Venice Biennale Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, p. 72 This sculpture is to be sold with certificate of authenticity issued by Asia Art Center Co. Ltd. Taipei.

NT$ 3,200,000-4,800,000 US$ 106,700-160,000 HK$ 780,000-1,171,000

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李真 大士 1999 銅雕 4/6 88(長) x 48(寬) x 94(高) cm 簽名雕刻:李真 Li Chen 4/6 展覽: 「無疆界的中國」華人當代藝術聯展,蘇富 比曼哈頓總部,紐約,展期自2001年6月20 日至6月28日 「上海國際城市雕塑雙年展」,上海,展期 自2005年11月18日至2006年3月17日 「媒介和傳統的當代道路-中國當代雕塑十 人展」,亞洲藝術中心,北京,展期自2007 年4月7日至5月6日 「第52屆威尼斯雙年展-虛空中的能量」, 義大利未來展望美術館,威尼斯,展期自 2007年6月10日至11月21日 圖錄: 《李真雕塑1992-2002》,亞洲藝術中心, 台北,2004,彩色圖版,頁48 《媒介和傳統的當代道路-中國當代雕塑十 人展》,亞洲藝術中心,北京,2007,彩色 圖版,頁44 《李真第52屆威尼斯年展-虛空中的能 量》,亞洲藝術中心,台北,2007,彩色圖 版,頁72 附亞洲藝術中心開立之原作保證書


此件拍賣作品《大士》是李真「虛空中的能 量」系列的代表作之一,2001年曾受邀參加 美國紐約蘇富比總部「無疆界的中國」大 型聯展,2007年更於第52屆威尼斯雙年展展 出。《大士》一作臉部渾圓敦厚又慈悲的神 情,在霧化面相中不失拙趣,是喜樂也是祥 和。 以單純清淨,卻又充斥著沛然莫之禦的氣體 能量,這種具形擴張效果,在極限與厚重間 有了虛與實的官感,是太虛智慧包容的意 涵,即簡單又直接傳達姿勢語彙。就雕塑肌 理與線條關係,李真表現出高超的融合性, 看似簡約,但在光影下確充滿著變化,圓滿 造型中依然有其精妙的神韻,左握淨瓶,右 拈指印,渾圓展臂而立。一種安穩態勢,讓 人有平靜安定感。在質感上用中國墨黑色帶 有霧亮處理形成特有效果,使觀者有既重又 輕的感覺,是一件耐人尋味的精品。 人類文明之多元性,在全球化的趨勢中加速 交流,但當下強勢文化的侵略與散佈,造成 異文化間的存在與疆界快速的消失。全球化 是共生概念,方便人類生活,但並非等於 文 化的統一化,在現代的時空裡,更突顯個別 文化的傳統自由精神的重要與可貴。 雕塑家李真,生於台灣,是一位極具天份 的藝術家,至今已於紐約、芝加哥、邁阿 密、休士頓、巴黎、倫敦、日內瓦、威尼 斯、上海、北京、新加坡、台北等多個城市 展出,私人及公共收藏遍布許多國家,更於 2007年受邀個展於全世界最高地位的學術展 覽:第52屆義大利威尼斯雙年展,獲得國 際廣大的迴響及曝光度,為至高的榮譽。 李真涉獵佛道學等經典、物外尋真,在藝術 作品的追求上,是以雕塑來傳達東方文化的 精神與內涵。李真以「虛空」為其重要的創 作美學概念,「空」與「虛」是中國文化中 佛學及道學的重要思想,佛學中的「空」並 不是代表沒有,而是代表一個巨大寂靜的生 滅智慧境界,在道家思想有兩句話:「虛 空粉碎,大地平沉」,就是描述一個破與 靜的極點狀態,在「易」之中求道。李真 的雕塑是在探討虛空的能量,但他所表現 出的雕塑實體,卻是空於外,道氣入內而 充塞,一點也不空,原因是李真再現能量 是以一種精神的形式,用誇張、通體漆黑 的實體來表現懾人的物質精神,但雕塑所 傳達確是甜美、浪漫、喜悅與滿足的精神 概念,正因如此,即便他的部分作品巨大 無比,但卻不顯壓迫笨重,似飄浮於空 中,令人有「既重又輕」的感覺,這正是

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精神能量與物質能量完美的結合所致。 不但如此,李真竟能突破千年佛教雕塑既有 的形式藩籬,轉化唐代佛教造像的豐厚飽 滿,以及宋代俊美秀麗的精神暨形象特質, 將雕塑的開臉與線條減至極簡,並且粹取中 國5000年歷史文化的元素,如中國的仙、 佛、龍、神話、民間故事等,更進一步注入 當代藝術的元素及物件,成功的結合古典與 當代,使其作品呈現一種前所未見���獨特型 態及樣貌,賦予東方雕塑新的生命。

This auctioned piece of artwork, “Avalokitesvara” is one of the representative series of Li Chen’s artworks named “Energy in Emptiness”. In 2001, this piece was invited by the Sotheby's Headquarters in New York, U.S.A. to attend a huge exhibition called “China without Border.” Moreover, it was also displayed in the 52nd Venice Biennial in 2007. The work “Avalokitesvara” shows a full round face with mercy, humbleness and sincerity. It might look clumsy at first yet the misted facial expression conveys joy, peace and harmony. Besides offering people an innocent, clear and clean sense, it also has an abundance of energy which has an expansive effect. Between the limit and the heaviness, virtual and real senses are endowed. These are implications of the wisdom of tai xu (it means vision) which applies the language of various body postures to communicate with the audience in a simple and direct manner. In terms of the relation between sculptural textures and lines, Li Chen's work demonstrates his superb skills to combine them. It might look simple, but in the light and shadow, it is full of changes. Still, there is a sense of delicate spirit in the perfect design. With the left hand holding a clean bottle, the right hand’s fingers making a lotus gesture, the sculpture stands tall with solemnity and dignity and gives a calm and secure feeling. The use of Chinese ink-black color with bright-misted approach creates an unique quality that makes audience feel the heaviness and lightness at the same time. It is a fine piece of artwork which arouses intense interests. Globalization is accelerating communication and interaction among the multitudes of human cultures and the boundaries between existing cultures are disappearing rapidly.

While globalization is a universal concept that makes life easier for all, it does not unify cultures. In that sense the individualism of unique cultures is more important and precious now than it has even been before. The artist Li Chen was born in central Taiwan, and in his expansive studies of Buddhist and Taoist scriptures he seeks truth beyond the material world. He uses sculpture to convey the spirit and allusions of Eastern culture, taking the idea of "Emptiness", or "Void", as his central creative aesthetic concept. These are important concepts in Chinese Buddhist and Taoist cultures. But “Emptiness” in Buddhism does not mean “Nothing”. Instead it connotes a vast and calm understanding of one’s existence in the world. In the same vein, there is a Taoist saying that goes: “When emptiness is broken, the earth loses its balance”; it describes an extreme state of disturbing the balance of things as pursued though the idea of interconnectivity. Li Chen’s sculptures investigate the energy of such emptiness, and his sculptural forms are not empty, but instead are full of a vital energy. He achieves this through an energetic and spiritual style that uses exaggerated shapes and dark black lacquer to create a spiritual matter that people can absorb. But the sculptures also convey emotions that are sweet, romantic, happy and satisfied. For this reason, though some of his works may be massive, they don’t appear oppressive and heavy. Instead they seem to be floating in the air, exhibiting an alluring ambiguity between lightness and heaviness. Li Chen also makes breakthroughs in the already-existing styles of Buddhist sculpture that have existed over thousands of years. He alters the thick and full Tang Dynasty (A.D. 618–907) style Buddhist sculptures and the elegantly spiritual characteristics of Song Dynasty (A.D. 960-1279) sculpture, reaching an extreme simplification in both face and line. He extracts elements of China’s five thousand years of history and culture, including Chinese immortals, Buddhas, dragons, fairy tales and folk tales, etc. and takes them a step further, creating contemporary artistic work from them. He successfully combines classical and contemporary perspectives and creates works that are unprecedented and unique forms, endowing new life to Eastern sculpture.


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Yun GEE

(Chinese-American, 1906-1963) Around 1940, Yun Gee painted a few nude oil paintings; the women were usually depicted seated on a red armchair. As far back as 1929, Yun Gee (who was living in Paris at that time) had painted this red armchair on its own; his sense of isolation as a foreigner in Paris and his desire for personal growth were somehow embodied in this red chair in the French classical style, standing elegant but alone by the window. The same chair subsequently appeared in several nudes painted by Yun Gee during his “New York period”, of which this painting – “Female Nude Bust” – is one.

Female Nude Bust Late 1930s-early 1940s Oil on board 41 x 32.5 cm Signed lower left Yun Gee in English EXHIBITED: The Exhibition of Sanyu and Yun Gee, Lin & Keng Gallery, Taipei, November 6 - 23, 1993 Yun Gee, Lin & Keng Gallery, Taipei, August 19 - September 5, 1995 ILLUSTRATED: The Art Works of Sanyu and Yun Gee, Lin & Keng Gallery, Taipei, January 1994, color illustrated, p. 45 Yun Gee, Lin & Keng Gallery, Taipei, August 1995, color illustrated, p. 47

NT$ 1,200,000-2,000,000 US$ 40,000-66,700 HK$ 293,000-488,000

朱沅芷 扶手椅上的半身裸女 1930年代末-1940年代初 油彩 木板 41 x 32.5 cm 簽名左下:Yun Gee 展覽: 「常玉、朱沅芷作品展」,大未來畫廊,台 北,展期自1993年11月6日至23日 「朱沅芷」,大未來畫廊,台北,展期自 1995年8月19日至9月5日 圖錄: 《常玉、朱沅芷作品集》,大未來畫廊, 台北,1994年1月,彩色圖版,頁45(原題 《半身裸女》) 《朱沅芷》,大未來藝術,台北,1995年 8月,彩色圖版,頁47

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約莫1940年前後,朱沅芷創作幾幅裸女系 列油畫,背景常出現一張紅色扶手椅。早 在1929年前後,旅居巴黎的朱沅芷曾單獨 描繪這張紅色椅子,遊子異地尋求發展的 心情,凝聚在窗邊華麗而孤獨的法式古典 紅椅。後來,這張紅椅子多次出現在幾幅 屬於朱沅芷「紐約時期」的裸女系列畫面 背景中,此幅《扶手椅上的半身裸女》即 是其一。 根據周念慈在《華裔畫傑朱沅芷》一書的 描述,當初朱沅芷發表「裸女系列」時曾 有爭議,有人說畫面消失了,只見到畫中 的靈魂。而一位英國部長夫人在看過他的 畫之後,覺得被畫中豐富的色彩深深的吸 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、飄渺 的,畫中藏著孤獨的靈魂,那正是畫家艱 難生命的寫照。 作品《扶手椅上的半身裸女》描寫一位神 態自若的裸女,其視線不在為她肖像的畫 家,而是凝望他處。沈鬱和諧的色彩,淡 然的情緒,畫家以其主觀技法,舒緩地描 繪出婀娜女體,既古典且現代,時間在此 停駐,呈現出朱沅芷紐約時期個人獨特的 表現主義風格。

“Overseas Chinese Artist - Yun Gee”, Nancy Chou writes that Yun Gee's first showing of his nudity series created quite a controversy; critics felt that the painting had lost its structure and the viewer could only feel its soul. The wife of a British minister commented that although she was at first deeply attracted to the rich colors of the painting, she slowly progressed towards discovering the meaning of life, became immersed in searching for the deep subconscious and eventually forgot about the colors! Regardless, Yun Gee's portraits are always vaguely indistinct, exuding the mood and sentiments of a lonely soul and reflecting the artist's own hard life. “Female Nude Bust” depicts a self-assured naked woman, whose gaze is clearly directed at something other than the artist who is painting her. With a muted and yet harmonious color scheme, and restrained emotional feeling, Yun Gee has employed his own subjective approach to depicting the woman’s elegant form in a way that is both classical and modern. In this painting, time seems to stand still; this is a fine example of the unique expressive style that characterizes Yun Gee’s paintings from his New York period.


145

CAI Guo-Qiang (Chinese, b. 1957)

Fetus Movement II: Project for Extraterrestrials No. 9 1991 Gunpowder and ink on paper 88 x 65 cm Signed lower center CAI GUO QIANG in English

NT$ 1,500,000-2,500,000 US$ 50,000-83,300 HK$ 366,000-610,000

蔡國強 胎動二: 為外星人作的計畫第九號 1991 火藥爆破 水墨 紙本 88 x 65 cm 簽名中下:CAI GUO QIANG

蔡國強在當代華人藝術家圈中的國際地位大 家有目共睹。他1958年生於中國福建泉州, 父親蔡瑞欽是一位傳統的水墨畫家和書法 家,他沒有跟隨父親的腳步,反而選擇就讀 上海戲劇學院舞台美術系。1980年代時他悠 遊於實驗藝術的世界裡。1986年赴日求學並 在那裡生活了九年。這段期間的體驗深深的 影響了他的藝術創作方向。1995年他受邀前 往美國紐約皇后區的P.S.1藝術中心創作一 年,之後便定居紐約。 他的藝術風格既複雜又獨特,融合了成長背 景、生活經驗、信念以及感性。作品經常挑 戰既定的創作模式,尤其是他的爆破創作舉 世聞名。特別是火藥草圖以及定點爆破的創 作令人耳目一新。他的裝置藝術涵蓋中國許 多的傳統文化圖像,好比古代神話和戰爭 史,藉以質疑當代世界。同時,他也參與社 會計畫,結合偏遠與藝術較無接觸的當地居 民一起創作藝術作品。 身為新前衛藝術之創作者,蔡國強早期的作 品主題刻劃深邃,也常涉及政治評論,關切 相關議題。1986年當他去日本求學時第一次 接觸到一個全新的世界。來自高壓統治社會 的他,終於可以深入西方知性的開放面。由 於日本的社會結構嚴謹,身為外來者的他, 可說是這片新土地的外星人。於是他開始探 索火藥的性能並大量運用到自己的作品裡。 藉由火藥的巨大破壞力創出前所未見的新穎 藝術。他的「為外星人所做的計畫」爆破系 列作品讓他達到創作的最高峰,這些大型的 爆破作品試圖讓觀眾和更大的宇宙產生連 結。

Cai Guo-Qiang is the most internationally acclaimed of all contemporary Chinese artists. He was born in Quanzhou, Fujian Province in China in 1958. His father, Cai Ruiqin was a traditional brush painter and calligrapher. However, rather than follow in his father's footsteps, Cai studied stage design at the

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prestigious Shanghai Drama Institute. He soon emerged as a player in the experimental art world of the 1980s. 1n 1986, he received a student visa for Japan, where he spent the next nine years of his life. His experiences, there, were to have a major influence on the direction of his artwork. In 1995, after a yearlong residency at the P.S. 1 Art Centre in Queens, he made New York his base. Cai's art is complex and unique. His art is a result of his origins, his experiences, his beliefs and his sensitivities. In his work he challenges all the accepted boundaries of art making becoming famous for creating major works using explosives. Along with his Gunpowder Drawings, he is also renowned for his explosion events, which are often sitespecific artistic creations. He records moments of many of these events later in gunpowder drawings. His installations call on many icons of Chinese culture such as ancient mythology and military history to ask new questions of the modern world. Cai is also very involved in social projects where he engages entire local communities to produce art often in remote, non-art sites. As part of the new avant-garde movement his early works dealt with profound subjects and often contained political comments, concerns that have remained central to his art. His first opportunity to encounter a new world was in 1986 when he went to Japan. Coming from a tightly controlled society, he embraced its intellectual openness and discussion of the Western World. However, Japanese society is tightly woven and Cai was an outsider, an alien in his new land. He now explored the properties of gunpowder and started using it extensively in his art. Through its tremendous energy, destruction would ensue, from which something new and wonderful would be created. He first began his explosion projects here culminating in his series "Projects for Extraterrestrials". These were explosion events on a grand scale, which were an attempt to engage viewers with the larger universe around them.


146

George CHANN

(Chinese-American, 1913-1995)

Mirage 1950s-1960s Oil on canvas, collage 122 x 105.5 cm Signed lower left GEO. CHANN in English With two seals of the artist

NT$ 2,200,000-3,200,000 US$ 73,300-106,700 HK$ 537,000-780,000

陳蔭羆 蜃樓 1950年代-1960年代 油彩 畫布 拼貼 122 x 105.5 cm 簽名左下:GEO. CHANN 鈐印左下:陳 C

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中國抽象畫的發展多數歸功於海外華人藝術家的貢獻。二十世紀初康丁斯基率先提出抽象畫 的理論,完成美術史上第一幅抽象畫。但是無疑地,東方傳統更貼近抽象畫的意涵,中國的 文字及書法豐富了抽象畫的表達。二十世紀中葉「抽象表現主義」興盛於美國和歐洲,將繪 畫帶入新的境界,幾位傑出的藝術大師,都承認受到東方書法及哲學的感召影響。中國抽象 畫的先驅,在法國有趙無極、朱德群,在美國則首推年紀更長的陳蔭羆。中國傳統文字的形 式美,都給他們一定的啟示。其中陳蔭羆和趙無極一開始不約而同的從甲骨文、碑拓汲取養 分,陳蔭羆尤其加入拼貼的元素,添入歷史文明的華麗感。 陳蔭羆的《蜃樓》作品左下方繪有兩個中國鈐印圖飾,使畫面具有濃郁的中國風。藝術家從 1952年開設古董商店後,畫 家後半生與中國書畫文物為伍,身體力行持續創作,他研究華夏 歷史的斑斕,也探索文化蘊藏的情感。此幅畫作的背景鋪陳出如鐘鼎的質感,畫家無意具體 呈現碑帖文字的字義,著重圖紋所蘊藏的奧祕,及其所形成的抽象音樂性。

Chinese abstract paintings are mostly contributed by oversea Chinese painters. Kandinsky first brought up the theory of abstract painting back in the beginning of 20th century, and completed the first abstract painting in the history. But undoubtedly, the eastern traditional is closer to the essence of abstract paintings, Chinese characters and calligraphy adequately enriched the expression of abstract paintings. Abstract Expressionism was fashionable in the mid 20th century; it brought paintings into a new boundary, there were many masters of art had admitted the influence of eastern calligraphy and philosophy on their works. The frontiers of Chinese abstract paintings include Zao Wou-ki, Chu Tehchun in France, and surely older-aged George Chann in the United States. The beauty of traditional Chinese characters in their forms had given them certain inspirations. Zao Wou-ki and George Chann at first acquired inspirations from inscriptions on bones or tortoise shells and stone tables, George Chann particularly implanted the collage element, which added the glamour of the history and civilization into the painting.   George Chann’s “Mirage” applies the vertical structure of stone rubbings; there are two Chinese seal marks in the lower left corner of the painting that set off a strong Chinese style. After he opened an antique shop in 1952, the artist spent the rest of his lives with Chinese antiquities and kept his creations going. He not only studied the glorious history of Chinese, but also discovered the emotions lie within its culture. The arrangement of the background is like a ancient Chinese cooking vessel or a bell, the artist wasn't intended to present the meaning of the text on the stone tablet, what he emphasized is the mysteries lie within the lines, and the forming abstract musicality.


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HUANG Gang (Chinese, b. 1961)

Golden Bohdi Tree (diptych) 2010 Mixed media on board 223 x 183 cm Signed lower right Huang Gang in English and Chinese, dated 2010

NT$ 3,200,000-4,600,000 US$ 106,700-153,300 HK$ 780,000-1,122,000

黃鋼 金色菩提樹(雙聯幅) 2010 綜合媒材 木板 223 x 183 cm 簽名右下:Huang Gang 黃鋼 2010

黃鋼以最大自由度的表現形式,在作品中呈 現出深刻的東方美學思想。他將中國偉大的 工藝傳統與現代西方繪畫中自由的表現性完 美地結合,借用了西方藝術中裝置、拼貼的 手法,大量運用現成物、裝置在繪畫之中。 從而使具有久遠年代和強烈精神性的物質, 如古老的木刻佛經刻板、古老的西藏皮箱、 古代的絲織品等在其藝術中昇華到新的精神 層面,由此形成了獨立的個性藝術語言。 由於歷史與藝術市場環境等客觀因素,中國 當代藝術在學術上的西方殖民化影響從未減 弱,黃鋼作為藝術家面對了極大的挑戰,他 憑著深厚的文化底蘊不斷探索,形成自己獨 立的藝術風格,東方精神在他的繪畫中以強 烈的視覺語言得以輝煌重現。

Huang Gang makes use of the freest forms of expression in his works, embodying the profound ideas of eastern aesthetics. He has deftly combined China’s great craft traditions with the free expression of modern Western painting, adapting installation and collage techniques and applying large amounts of readymade objects and installation elements into his paintings. In this way, old, strongly spiritual materials, such as old Buddhist sutra woodcuts, antique Tibetan leather chests and ancient textiles are elevated to a new spiritual level, forming a unique and personal artistic language. Owing to such factors as history and the art market environment, the influence of Western colonialism has yet to fade from the academic field of contemporary Chinese art. As an artist, Huang Gang has faced immense challenges. He has drawn from profound explorations of culture to form his own unique artistic style. Through the powerful visual language of his painting, the Oriental spirit has been restored to its former glory.

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148

CHU Teh-chun

(Chinese-French, b. 1920) 議的》,用色兼容沉穩奔放,光線神秘的游 移、躍動於其中,充滿了蓬勃的生命力。

L'ineffable 1993-1994 Oil on canvas 130 x 97 cm Signed lower right Chu Teh-chun in Chinese and English, dated 93-94 Titled on the reverse L'ineffable in French and Chinese, signed Chu Teh-chun in English and Chinese, dated 1994 ILLUSTRATED: Solo Exhibition of Chu Teh-chun, Thin Chang Corporation, Taipei, 2007, color illustrated, p. 262

NT$ 5,600,000-6,800,000 US$ 186,700-226,700 HK$ 1,366,000-1,659,000

朱德群 不可思議的 1993-1994 油彩 畫布 130 x 97 cm 簽名右下:朱德群 CHU TEH-CHUN 93-94 簽名畫背:"L'ineffable" 不可思議的 CHU TEH-CHUN 朱德群 1994 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262

朱德群1955年離開台灣遠赴巴黎,開啟了 他的藝術創作之旅。他的繪畫藝術同時兼 具東方藝術的溫婉細膩和西方繪畫的濃烈粗 獷,而這正是他將自身中國文化背景與歷史 傳承巧妙的融合於其中加上善用西方繪畫工 具和技巧的具體表現。1960年代的作品中他 多以單一色作背景,運用闊筆與快筆揮灑出 寬、窄、厚、薄的線條遊走於畫面上;1970 年代的創作受林布蘭用色與明暗處理的影響 頗為深刻,但他運用個人一向快捷、類似中 國「飛白」意味的筆法以及白色塊或其它淺 色塊的搭配,使得此時期的繪畫風格得以擺 脫林布蘭的沉鬱,反而有著行雲流水般的優 雅流暢;而中國書法的俯仰、頓挫與縱橫均 可見於1980年代中的作品當中;進入1990年 代後,朱德群的作品更加接近中國的繪畫傳 統,當中注重宇宙變化並探討人與自然的關 聯,有些作品的標題甚至包含了這些元素。 在朱德群的畫作當中,他以畫筆描繪出自然 界裡透明的空氣、清涼的水氣、游移的風、 急速的湍流與初降的瑞雪等無形的生命,以 既誇張又抒情的手法表現出強烈又雋永的印 象,同時兼具夢幻意味與戲劇性效果,這 幅1993-1994年間創作的油畫作品《不可思

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Chu Teh-chun left Taiwan for Paris in 1955 and started his artistic journey. His paintings combines the softness of eastern paintings and the thickness of western paintings, it is a concrete presentation of his Chinese cul ture background and history inheritance added with the technical use of western painting tools and techniques. His works from the '60s mostly use a single color as background, with fast brush strokes painted wide, narrow, thick and thin lines on the picture; those from the '70s were influenced by Rembrandt's use of colors and shades, but with his fast, "Feibai" brush strokes, as was as the collocation of white and other light colored blocks, helped paintings from this period got rid of Rembrandt's glooms, and got more fluent like clouds and rivers. Techniques from tradition Chinese calligraphy can be found in his works from the '80s; Chu's work got much closer to traditional Chinese paintings in the '90s, they covered the discussion of the relationship between human and nature, even some of the titles of these works used these ideas as subjects. In Chu Teh-chun's paintings, he painted many invisible life forces like air, steams, winds, rivers, and snows in his paintings, he used lyrical method to present strong and meaningful impressions, illusionary and dramatic at the same time, this piece of work "L’ineffable" was created in 1993-1994, the use of colors and harmonic and wild, the lights moves in an mysterious way, formed a lively and vivid picture.


149

ZAO Wou-ki

(Chinese-French, b. 1921)

Paysage c. 1952 Oil on canvas 65 x 92 cm Signed lower right Wou-ki in Chinese and ZAO in French PROVENANCE: Galerie Michel Delorme, Paris Private collection, Asia ILLUSTRATED: Zao Wou-Ki, Lin & Keng Gallery Inc., Taipei, 2005, color illustrated, pp. 26-27

NT$ 28,000,000-48,000,000 US$ 933,300-1,600,000 HK$ 6,829,000-11,707,000

趙無極 風景 約1952 油彩 畫布 65 x 92 cm 簽名右下:無極 ZAO 來源: 米歇,德羅姆畫廊,巴黎 私人收藏,亞洲 圖錄: 《趙無極》,大未來畫廊藝術有限公司, 台北,2005,彩色圖版,頁26-27

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趙無極的早期油畫《風景》帶著歐洲特有的 黃綠色調,完成於1950年代初期,屬於「克 利時期」風格作品。這段時期的畫面裡經常 出現符號性的線條,顫動而具有愉悅感。以 大自然、建築廣場等空間佈局為多,動物或 人物偶而點綴其間,營造出迷濛的詩意世 界。法國詩人、畫家兼藝評家亨利.米修、 瑞士雕塑家傑克梅第皆讚揚這段時期的作 品。 亨利.米修認為:趙無極的畫其實不是「風 景」,而是「自然」,早期作品有幽渺曠遠 與神祕的感覺,一種中國節慶氣氛,他的評 畫相當契合藝術家的心境。而傑克梅第曾經 告訴趙無極,特別喜歡他「畫中有一種潦草 顫動的東西」,對於後來趙無極轉向抽象還 頗有微辭。 1948年趙無極離開中國前往法國學習藝術, 浸淫在歐洲濃郁的文化氛圍中,極短的時間 適應了當地的生活,出色的畫藝使得他很快 受到肯定。1951年時他暫緩繪畫創作,開始 到歐洲各國旅行充實自我。就在他前往瑞士 參加自己的銅版畫發表時,有機會在伯恩參 觀了保羅.克利的畫展。當他看到小小的畫 面營造出遼闊無比的空間,色彩間交雜著線 條符號,牽引出抽象的詩意與想像,內心受 到極大的感動。克利帶有東方精神的高妙繪 畫,提示出一條通往抽象藝術的途徑。這段 探索時期對於趙無極後來成為國際知名抒情 抽象畫家,可謂至關重要。


趙無極 《處處聞啼鳥》 羅芙奧台北2009秋季拍賣會,編號055,6320萬台幣成交 ZAO Wou-ki, Oiseaux volent partout (Birds Fly Everywhere) 1952, oil on canvas, 81 x 100 cm Ravenel Autumn Auction 2009 Taipei, lot 055 US$ 1,965,174 sold

之後趙無極又到義大利、西班牙等地旅行, 南歐的城市建築吸引了他的目光,地中海的 明亮色彩與想像力都是創作的源泉。這些空 間佈局被他運用在1950年代初期的作品之 中。以此幅《風景》為例,顫動纖細的線條 繞過前景,延伸到兩側,切割產生空間感。 象形文字般的符號線條組構出山村綠樹,呈 現自然質樸的特色,隱約見到人物、動物嬉 戲其間,歐洲繪畫專有的亮黃色調,結合清 新的綠色,使整幅繪畫洋溢愉悅感,添入粉 白色暈染則營造出宛如夢境般的氤氳空間。 1950年代早期油畫《風景》仍屬於具象畫, 畫中描寫的對象以簡化符號取代,但觀眾仍 可辨識。自然世界裡的幽玄語彙,讓整幅畫 帶有神祕而迷人的氣氛。中國繪畫多點透視 空間的傳統、文人畫意境,巧妙地融合於 此。趙無極來自歷史悠久的東方,接觸了西 方,為他的繪畫中帶進西方的光線與色彩, 而西方又導引他重新發現中國,尤其是中國 的空間。兩種傳統不相互約束,反而交互作 用成趙無極抒情又遼闊的繪畫世界,走向 抽 象藝術的探索。

This early oil painting, “Paysage”, from the artist’s “Paul Klee Period” was completed in the early 1950s and displays a typically

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European yellow-brown palette. Zao’s work from this period frequently comprises vibrant lines that are both overflowing with joy and loaded with symbolism, and deals mainly with natural subjects, or architectural structures, open spaces and squares. Animals or human figures are occasionally interspersed in the composition, helping to create a poetic dreamworld of enchanting vagueness. Both the French poet, painter and critic Henri Michaux and the Swiss sculptor Alberto Gicacometti reserved particular praise for Zao Wou-ki’s output from this period. Henri Michaux, whose critiques of individual works are always very insightful and in tune with the artist’s mood, felt that Zao’s paintings were not depicting “landscapes” as much as “nature,” and that his early work was bathed in the lively atmosphere of Chinese festivals, while at the same time emanating a powerful sense of vastitude and mysticism. Giacometti once told Zao that he was especially fond of the “spontaneous nonchalance rippling in tremors” (il y avait un côté pattes de mouche tremblotantes) through his paintings-a remark already hinting at the artist’s gradual switch to out-and-out abstraction, which was to follow later in his career. In 1948, Zao Wou-ki left China for France, where he studied art and immersed himself in the pulsating bohemian and cultural life of the old continent. He was quickly at home in Paris, and his superior painting skills and creative genius soon found wide recognition in art circles. In 1951, Zao temporarily put his painting efforts on a backburner and began to travel through Europe to broaden his horizons and seek new inspirations. Making his way to Switzerland for a presentation of his copperplate etchings, he had the opportunity to visit a Paul Klee exhibition in Bern. Zao was deeply impressed by Klee’s ability to evoke immeasurably vast spaces in even the

smallest-sized of paintings, and to delicately blend colors with lines and symbols to conjure up abstract poeticism and playgrounds of imagination. There is something Oriental about Klee’s work, an ingenious mastery that directly communicated itself to Zao, pointing a way toward the art of the abstract. It is no exaggeration to say that those years of freewheeling exploration were crucial for the Chinese artist’s development as an internationally renowned master of lyricalabstractionist painting. Zao also traveled to other places, such as Italy and Spain, where Southern European architectural styles attracted his interest, and the bright, intense colors and romantic Mediterranean spirit became lasting sources of inspiration for his work. This influence can be strongly felt in the artist’s compositions from the early 1950s, including this lot, titled “Paysage” (“Landscape”), in which vacillating fine lines dominate the foreground and expand to both sides of the canvas to create a sense of depth and space. Dark lines reminiscent of Chinese pictographs are assembled into a mountain village and green trees, with human figures and frolicking animals faintly discernible in between. Bright yellow tones in the European tradition are fused with fresh shades of green to generate a joyful atmosphere that is further accentuated by dabs of opaque white. The overall effect is that of a dreamlike world, a delightfully different plane of reality. “Paysage” has to be counted as a work of representational art: while the depicted subjects have already been “replaced” by symbolic pictograms, they yet remain immediately identifiable by the observer. However, the profound mystique of the natural world, perfectly mirrored in the artist’s shorthand imagery, imbues the entire composition with an intriguing mood, both confusing and spellbinding. Moreover, “Paysage” is a deftly


crafted amalgam of European palette and the traditional Chinese multi-perspective approach, a clever mixture of literati-painting metaphors and Western techniques. Zao, while rooted in the Oriental tradition, encountered European styles and techniques with an open mind, absorbing new ways of lighting and coloring to come away with a fresh outlook on Chinese visual art, in particular its treatment of space and perspective. Zao has a true talent for combining seemingly incongruent elements and approaches, and allowing them to harmoniously complement each other. In the process, he has created masterpieces both lyrical and majestic, always forging ahead in his search for perfect abstraction.

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


150

JU Ming

(Taiwanese, b. 1938)

Taichi Series – Single Whip 1991 Bronze, edition no. 5/6 303(L) x 128(W) x 160(H) cm Engraved on the back Ju Ming in Chinese, numbered 5/6 and dated '91 PROVEANCE: Collection of B&W Private Equity Fund, U. S. A. This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Gallery, Taipei.

NT$ 58,000,000-80,000,000 US$ 1,933,300-2,666,700 HK$ 14,146,000-19,512,000

朱銘 太極系列—單鞭下勢 1991 銅雕 5/6 303(長) x 128(寬) x 160(高) cm 簽名雕刻後側:朱銘 5/6 '91 來源: 美商私募基金收藏,美國 附雋永雕塑畫廊開立之原作保證書

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朱銘1938年出生於台灣的苗栗縣通宵鎮,早 年未接受完善的美術教育,15歲時跟隨李金 川師傅學習傳統木雕技藝。30歲時,他放棄 在大雕刻廠首席師傅的高薪,離開故鄉,向 雕刻大師楊英風學藝術現代雕塑,為期八 年。當年朱銘身體瘦弱,楊英風建議他修習 太極拳養身。練太極拳原本僅為了強身,然 而領悟力極強的朱銘,卻從中體會到思想與 心靈上的奧妙。 以太極拳調養與修行期間,朱銘體會到自然 萬物、大氣運作的能量與蘊涵,內化為個人 思想體系後,漸表諸於雕刻創作上。於是, 氣勢磅礡的快意大作「太極」系列,便在朱 銘的領悟與體會下以藝術創作成形,「太極 系列」雕塑的抽象意涵,將中國文化傳統化 為超越語言、國界的藝術創作。 1978年,朱銘二度赴日本東京中央美術館 舉辦展覽,他的「太極系列」也首度在國 外發表。其中一件高150公分左右的《單鞭 下勢》銅雕,後來為日本箱根雕刻之森美術 館典藏,它是日本第一座戶外美術館,以展 出並收藏二十世紀藝術大師如畢卡索與亨利 摩爾等人傑作聞名國際。「太極系列」也為 朱銘的創作生涯開闢���另一個旅程。其實在 此之前,朱銘曾在1976年台灣國立歷史博物 館的個展中發表一件名為《功夫》的木雕, 它可說是「太極系列」的真正發端,而《功 夫》木雕人像所採取的姿態正是「單鞭下 勢」。 在朱銘眼中,「太極系列」才是他個人風格 的代表,而他所要表達的那份生命力,是由 內而外,而非由外而內。太極拳看似柔軟無 力,實則陰陽相生、柔中寓剛、剛柔並濟、 動靜相隨,它以架勢誘導身體產生調和動作 的均衡,氣體運行,而達平與靜的效果。太 極拳講究勻、慢、柔、圓,充分體現美學思 想,宛如同不同的人練太極同一招式時,會 展現不同的力度。因此,當朱銘在雕塑每一 件太極時,也賦予他們獨特的生命力。 朱銘在「太極系列」創作同時參照、融合架 上雕塑與空間環境雕塑,引進現代雕塑的新 觀念。朱銘的雕塑作品為現代化的公共空間 賦予廣闊的視覺創造以及經典人文圖景。其

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中尤以「太極系列」之獨特的 視覺符號和雕 塑形態,成為都市生活的互補和自然造化的 延伸。作品形成以靜制動的視覺張力,震撼 人心的體量感,具有特定的時代感召力,富 有當代審美精神的想像和陶冶。 連結了幾何化抽象體面以及人物動勢造型, 「太極系列」雕塑在三度空間語言中動與 靜、粗放與簡潔的對比,形成豐富有致的節 奏變化;雕塑在光線和陰影之中形成有層次 的變化效果。而在巨型《單鞭下勢》銅雕 中,朱銘憑藉著自身的閱歷與判斷,將人們 熟知的太極文化,以及相關的拳術套路轉化 為一種藝術形式,從以往的意象架構中脫離 出來,讓人生動地感覺出單鞭即下的大器、 力沉與勢不可擋。 「單鞭下勢」,無疑是朱銘「太極系列」作 品中最為人熟知的造型。從1970年代後期開 始,朱銘雕刻過多件《單鞭下勢》銅雕, 名稱雖然相同,但其神態、氣勢不同,各 有千秋,極具視覺張力 及造型美感。不過,如 同此件1991年的戶外大 型《單鞭下勢》,數量 無多,該版次僅限量六 件,寬度有303公分, 高度160公分 左右,造 型姿態漂亮,在拍賣市 場稀有少見。 類似戶外型「單鞭下 勢」銅雕鑄件已廣獲 博物館與基金會機 構收藏,例如最早的 日本雕刻之森美術館 (約1977-1978年作, 高150公分)、香港中 國銀行大樓、香港交 易廣場(1986年作, 高280公分)及台北縣 的朱銘美術館(1986 年作,467x188x267 公分;1999年作, 185.5x94x123公分) 等,為世人熟知的公共 空間收藏範例。

Ju Ming was born in 1938 in Tunghsiao, Miaoli County, which is a center of wood carving in Taiwan. He received very little formal education in the arts, and at the age of 15, he was apprenticed to Lee Chin-chuan, a famous traditional master wood-carver. When he was 30, he decided to give up a well-paid position as a chief craftsman in a large woodcarving factory. He left Miaoli to study sculpture with the master sculptor Yuyu Yang with whom he studied for eight years. Yang suggested to Ju Ming that he take up Taichi boxing, the traditional Chinese boxing, as he had a frail constitution, and it would help him to improve his health. Ju Ming soon discovered that practicing the ancient 'martial art' did more than just make him stronger: it gave him much food for thought and opened up profound new vistas for his creative work. Ju gained firsthand

朱銘《單鞭下勢》 羅芙奧香港2010春季拍賣會,編號020,1440萬港幣成交 JU Ming, Single Whip 1988, bronze, 265(L) x 118(W) x 157(H) cm Ravenel Spring Auction 2010 Hong Kong, lot 020, US$ 1,848,524 sold


experience of the awe-inspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art. This was the point of departure for his Taichi series, a collection of works brimming with impressive momentum and a joyful spirit. In these pieces, Ju managed to sublimate the abstract essence of traditional Chinese culture and to pour it into his creations that transcend language and geographical barriers. In 1978, Ju Ming had his second exhibition at the Central Art Museum in Tokyo, and his "Taichi Series" attracted international attention for the first time. A monumental bronze "Single Whip" was collected by the Hakone Open-Air Museum, which features works from worldrenowned artists including Henri Moore and Picasso. His "Taichi Series" began a new direction in his creativity. A forerunner of the series, a woodcarving of a Kung Fu fighter had been shown in the 1976 exhibition in Taipei which launched his fame. This carving displayed the basic pose of the "Single Whip" series. For Ju Ming, the "Taichi Series" is the starting point of his own unique style. He expresses the vital inner force discovered in Taichi boxing in a form that immediately resonates with a profound understanding of the energy within. In the "Taichi Series", Ju creates a tension between geometric abstract forms which bring forth the active and forceful postures of the figures. This, along with the contrast between the dynamic poses and the static material, and the rough and terse finishes create a rich rhythm in the works. The sculptures also play with a colorful effect of change between light and shadow. In "Single Whip", Ju Ming found his own voice and creates works of tremendous vitality and irresistible power as he explores the pure energy of traditional Taichi boxing.

The "Taichi Series" integrates the traditional concepts of sculpture with a new an exciting ‘capturing' of nature and energy. The works are created for public display in a public space and bring a very humanistic prospect to urban life. With its unique visual symbols and sculptural graphic arts, the "Taichi Series" is very 'urban' but its energy and force is from nature. The works visual effect is of the dynamic conquering the static material, creating an excitement that is immediately apparent to the viewer. The sculptures are totally modern yet imbued with primitive life forces. "Single Whip" is internationally the most well known of Ju's "Taichi Series". Taichi boxing seems to be quiet and powerless, however it combines the many contradictions of life. It is the Yin and Yang of traditional Chinese thinking. As a response to reality it involves activity and quietness, rigidity and fluidity. The posture causes the body to balance between both action and stillness, bringing quietness and peace to the practitioner. Ju Ming created many pieces of the "Single Whip" which all have the same name. However, each piece is unique as it captures a different manner and imposing appearance. Taichi boxing stresses uniform, slow, soft, and round movements, creating very aesthetic poses, but these poses will all have different dynamics with different people practicing them. So, each individual work has a unique vitality imbued with its own life force. The present piece, "Single Whip" made in 1991, is an early work from the series and was made in a limited edition of 6, measuring 303cm long

and 160cm high. This is an extremely rare opportunity to have it offered in auction. Currently, monumental bronzes of "Single Whip" can be found in many museums and public collections, including Japan's Hakone Open-Air Museum (created in 1977-1978, around 150cm high), Bank of China in Central Hong Kong, Exchange Square in Hong Kong (created in 1986, 280cm h i g h ), an d Ta i w a n ' s J u m i n g Museum (created in 1986, 467x188x267cm; created in 1999, 185.5x94x123cm).


趙無極 27.12.00 2000 油彩 畫布 65 x 81 cm 簽名右下:無極 ZAO 簽名畫背:ZAO WOU-KI 27.12.00 65 x 81 cm 來源: 歌劇畫廊,新加坡 私人收藏,亞洲 附新加坡歌劇畫廊開立之原作保證書

151

ZAO Wou-ki

(Chinese-French, b. 1921)

27.12.00 2000 Oil on canvas 65 x 81 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French, dated 27.12.00 and inscribed 65 x 81 cm PROVENANCE: Opera Gallery, Singapore Private collection, Asia This painting is to be sold with a certificate of authenticity issued by Opera Gallery, Singapore.

NT$ 18,000,000-28,000,000 US$ 600,000-933,300 HK$ 4,390,000-6,829,000

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趙無極的油畫作品《27.12.00》完成於千禧 年的冬季,此時他的創作歷程跨越到新的世 紀。對一位具有崇高美術地位的畫家而言, 他仍舊堅持創作者最初理想,不斷去創造、 發現,殊為難得。這一幅帶著海洋與天空意 象的藍色畫作,展現了藝術家自由奔放的意 志。在2000年的前後,趙無極甚至能完成 750公分寬的三聯幅巨畫,此後幾年仍有大 幅作品的發表,令人不禁感佩於藝術家豐沛 的想像與創造力。 法國重要的藝評家丹尼爾.阿巴迪,曾於 2005年發表一篇〈趙無極的靈視〉論文,認 為趙無極的油畫近作開啟了新的視界,並提 到他近幾年經常運用的藍色,其敘述如下: 「基於相同理由,幾年前趙無極的繪畫開 始施以藍色,施以明快流暢,一個絕妙的 空間,既是天空,也是海洋。然而提起『藍 色』,事實上完全揭露趙無極繪畫裡所欲表 達,以及語言所不能詮釋的。其實,在這些 藍色的圖畫裡,不是一種『藍色』,而是無 數藍的顏色匯聚。從最輕盈到最沈鬱的,點 綴著玫瑰色或粉 白的,從最溫暖到最寒洌 的,從荷爾德林所說的『可愛的』或者是悲 劇的,清澈透明優游其間,從背景來,光線 使各種藍色相映成趣,此正說明何以畫家 今日仍能醉心於追尋自己口中簡單稱之的 『塗塗畫畫』。」(丹尼爾.阿巴迪,〈趙無極的 靈視〉,《趙無極1948-2005油畫與水墨畫》,阿贊出版 社,法國比亞里茨,2005,頁20-21)

作品《27.12.00》有別於藝術家早期激昂的 線條與筆觸,轉而以輕透、寧靜、迷濛的 筆法,而高色調的用色與早期風格亦大不 相同。阿巴迪認為,近期的趙無極無須向誰 證明什麼,因此能進行華麗的冒險,以最意 想不到的方式創作,而其達成的效果卻也往 往出奇的成功。其他的藝評家也認為,趙無 極近作是「寂靜之畫」,彷如一種「自然 的夢」。DW的一段評論道出畫家近作的精 神:「趙無極的繪畫並非全然無聲的,而是 極深沈的寂靜,如同一位不停工作的人凝視 著,無止盡地的兢兢業業,因為每一線條, 每一筆觸,都在成就著整體繪畫之大。」 (參閱法國《人道報》2002年7月2日DW所撰寫的〈趙無 極的忠誠道路〉一文)

Straddling the millennium, Zao Wou-ki’s oil painting “27.12.00” was completed late in 2000, and there is every sign that the artist, well established as one of the greatest Chinese painters alive, has stayed true to his original creative notions﹣namely, to continue exploring new moods and avenues of expression. The basic approach is, however, unchanged in this symphony of aquamarine and celestial blue tones, as Zao’s bold, unrestrained energy is all over the canvas. In fact, the artist was so charged right around the new start of the new millennium that he managed to create a 7.5-meter broad triptych and a series of other large-scale paintings in the years that followed the completion of this lot. One cannot but admire Zao’s almost unlimited drive and artistic inspiration. In his 2005 article 'Clairvoyance de Zao Wouki,' eminent French art critic Daniel Abadie wrote about the new visual worlds opened up by the Chinese master’s recent oil paintings, focusing particularly on his repeated use of blue hues in these works: “… For the same reason, a few years Zao began to employ a great variety of blue tones


趙無極 《4.4.85》,羅芙奧台北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 Taipei, lot 068, US$ 3,579,107 sold

in his work, always applied with smooth, fluent brushstrokes to create incredible spaces that are reminiscent of the sky as well as the ocean. In these fascinating mélanges of blue, the artist enters the domain of completely abstracted beauty, speaking directly through color in a way that words can never grasp or explain. And it is never one single hue or shade that stands out, but instead a whole collection of subtly variegated colors, a veritable jamboree of ‘blue’ ranging from the lighthearted and playful to the gloomy and wistful, all of it punctuated with soft dabs of rose or pastel white, and oscillating between the most charming and ‘adorable,’ as Hölderlin would have defined it, and the profoundly stirring and dramatic. And then, the whole composition shines with a limpid light originating somewhere in its background, making the shades bleed into one enthralling wall of color, every tinge enhancing the whole and in turn enhanced by it. All this bears witness to the fact that Zao is still capable of losing himself in his art, and of simply ‘smearing and daubing' to his heart’s content.” (Pour la même raison, la peinture de Zao Wou-ki a, depluis quelque années, donné à la couleur bleue, à sa fluidité qui est aussi bien celle du ciel que de la mer, une place préondérante. Mais si l’on parle de «couleur bleue» on révèle de fait tout ce que la peintures de Zao Wou-ki propose et que le langage ne peut plus traduire. Il n’y a en effet, dans ces effets, dans ce tableaux bleues, aucune «couleur bleue» mais une multitude de couleurs de bleu, du plus léger au plus dense, ponctué de rose ou de blanc, du plus chaud au plus froid, «adorable» au dire d’Hölderlin ou dramatique, jouant des transparences, de arrière-plans, des lumières qui font qu’aucun de ces bleus n’est semblable

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à une autre et qui explique pourqoui la peinture peut encore aujourd’hui s’émerveiller à poursuivre ce qu’il appelle simplement son «barbouillage».) (Daniel Abadie, ‘Clarivoyance de Zao Wou-ki,’ Zao Wou-ki, Peintures et encres de Chine, 1948-2005, Editions Hazan, Biarritz, France, 2005, pp. 20-21)

In “27.12.00”, the passion and exuberance seen in the lines and brushwork of Zao’s early work have mellowed somewhat, giving way to a tranquil lucidity and gentle haziness—a far cry from the intensely flamboyant palette of the artist’s beginnings. Daniel Abadie’s take on Zao’s latest output is that the artist no longer needs to prove anything to anybody, and is therefore free to take more risks and venture into new, unpredictable areas of artistic expression. Anything goes now, and the results of such experimentation are often amazingly successful. Other art critics also describe Zao’s recent work as “paintings of serenity,” and as having the quality of “natural dreams.” D. W. captures the spirit of the artist’s newest paintings in a nutshell when he says, “Zao’s latest work is not so much about overt silence as about a profound inner peace and calm, the kind emanating from a person completely involved in his work, focusing with every fiber of his being on the task at hand. Because every little brushstroke, every single line contributes to the magnificence of the finished painting.” ("Les toiles de Zao Wou-ki ne sont donc pas muettes, mais profondément silencieuses, comme un qui travaille sans relêche, regarde, et avec d'infinies précautions reprend. Parce que chaque trait, chaque touche modifie le grand tout du tableau") (D. W., La voie royale de Zao Wou-ki, Journal l'Humanité, Paris, July 2, 2002)


152

CHU Teh-chun

(Chinese-French, b. 1920)

Clarté immatérielle 1998 Oil on canvas 60 x 120 cm Signed lower right Chu Teh-chun in Chinese and English, dated 98 Titled on the reverse Clarté IMMATERIELLE in French, signed Chu Teh-chun in Chinese and English, dated 1998 EXHIBITED: 1998 Chu Teh-chun Solo Exhibition, Heritage Arts International Ltd., Taipei, May 9-24, 1998 This painting is to be sold with a certificate of authenticity signed by the artist and a picture of the artist.

NT$ 3,800,000-5,000,000 US$ 126,700-166,700 HK$ 927,000-1,220,000

朱德群 靈性的光輝 1998 油彩 畫布 60 x 120 cm 簽名右下:朱德群 CHU TEH-CHUN 98 簽名畫背:Clarté IMMATERIELLE CHU TEH-CHUN 朱德群 1998 展覽: 「1998 朱德群個展」,傳家藝術國際股份 有限公司,台北,展期1998年5月9日至24日 附藝術家合照及親筆簽名之原作保證書

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。 畫出性格來,使幻想變成完美無缺,很驚奇的是在他的畫面並非西方線條的透視,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寓移植於畫布上,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 figurative creation experiences, when he was learning in Hangzhou National College 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. 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.

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153

YANG San-lang (Taiwanese, 1907-1995)

Fuji Mountain Oil on canvas 80 x 65 cm Signed lower right S. Yang in English

NT$ 3,400,000-4,400,000 US$ 113,300-146,700 HK$ 829,000-1,073,000

楊三郎 富士山 油彩 畫布 80 x 65 cm 簽名右下:S. Yang

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154

Paul CHIANG (Taiwanese, b. 1942)

Meditation on Eternity 04-17 2004 Oil on canvas 185 x 230 cm Signed on the reverse Paul Chiang in Chinese and initialed P. C. ILLUSTRATED: Paul Chiang, Eslite Gallery, Taipei, 2005, color illustrated, p. 41

NT$ 2,000,000-3,800,000 US$ 66,700-126,700 HK$ 488,000-927,000

江賢二 對永恆的冥想 04-17 2004 油彩 畫布 185 x 230 cm 簽名畫背:江賢二 P. C. 圖錄: 《江賢二》,誠品畫廊,台北,2005,彩色 圖版,頁41

1967年,江賢二首次踏上巴黎,希望實踐自 己的藝術理想,但卻碰到爆發五月學潮。翌 年,江賢二意外移居現代藝術之都—紐約, 從江賢二早期的紐約創作,到台灣的「百年 廟」系列與「對永恆的冥想」系列的創作, 藝術家遊走台灣、紐約與巴黎三地,江賢二 更希望經由不同時空的感受經驗能豐富創 作,呈現不同的心路歷程。 此幅《對永恆的冥想 04-17》作品中,厚塗 堆疊的畫面逐漸被平塗精簡所取代,藝術家 的心境也從早期巔沛漂泊走向安定平靜。另 外藝術家認為「空間」對他來說越來越重 要,因為那不僅止於畫面空間的處裡,更擴 及居家生活與精神空間的互動。這源起於他 想成為建築師的願望始終不滅。

Paul Chiang first came to Paris in 1967, hoping to realize his dream of becoming an artist. However, his plans were disrupted by widespread student demonstrations that occurred in France in May 1968. The following year, Chiang moved to New York, the world’s leading center for modern art. From Chiang’s early works dating from the period in which he was living in New York, through the “Hundred Year Temple” Series and “Meditation on Eternity” Series which he created in Taiwan, his artistic travels have seen him move back and forth between Taiwan, New York and Paris. Chiang firmly believes that exposure to different spatial and temporal environments can enrich his work, and that it enables him to present a range of different spiritual journeys in his art. In “Meditation on Eternity 04-17”, overlapping patches of thickly applied paint are gradually replaced by a smoother, more streamlined surface, reflecting the artist’s emotional journey from an early state of chaos and flux towards calmness and stability. “Space” has become more and more important to the artist; this is reflected not only in the treatment of space in his paintings, but also in the interaction between his home life and spiritual life. One can see here the continuing influence of Paul Chiang’s long-standing interest in architecture.

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155

LIU Kuo-sung (Taiwanese, b. 1932)

Move of the Moon 1973 Ink and color on paper 46.5 x 240 cm Signed lower right Liu Kuo-sung and dated 1973 in Chinese With one seal of the artist EXHIBITED: Universe in the Mind, A Retrospective of Liu Kuo-sung’s Seventy Years, Conference Center of CPCity Living World, Taipei, November 8 – 24, 2002 Universe in the Mind, A Retrospective of Liu Kuo-sung, Taoyuan County Cultural Center, Taoyuan County, Taiwan, October 2007

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  ILLUSTRATED: Liu Kuo-sung’s Art Creation–Inheritance and innovation, Modern Art Gallery, Taichung, 2002, color illustrated, cover Universe in the Mind, A Retrospective of Liu Kuo-sung’s Seventy Years, CPCity Living World, Taipei, 2002, color illustrated, p. 33 Liu Kuo-sung’s Universe, Chan Liu Art Museum, Taipei, 2004, color illustrated, pp. 72-73 Modern Impulse–Liu Kuo-sung, Soka Association, Taipei, 2005, color illustrated, pp. 32-33 Universe in the Mind, A Retrospective of Liu Kuo-sung, Cultural Affairs Bureau of Taoyuan County Government, Taoyuan County, Taiwan, 2007, color illustrated, pp. 104-105

NT$ 1,200,000-2,200,000 US$ 40,000-73,300 HK$ 293,000-537,000


劉國松 月之運行 1973 彩墨 紙本 46.5 x 240 cm 簽名右下:劉國松 一九七三 鈐印右下:劉國松 展覽: 「宇宙心印—劉國松七十回顧展之京華城特 展」,京華城文化會館,台北,展期2002年 11月8日至24日 「宇宙心印:劉國松回顧展」,桃園縣立文 化中心,台灣桃園,展期2007年10月

圖錄: 《劉國松創作歷程展—傳承與格新》,現代 藝術空間,台中,2002,彩色圖版,封面 《宇宙心印—劉國松七十回顧展之京華城特 展》,京華城,台北,2002,彩色圖版,頁 33 《劉國松的宇宙》,長流美術館,台北, 2004,彩色圖版,頁72-73 《現代的衝擊—劉國松》,日本創價學會, 台北,2005,彩色圖版,頁32-33 《宇宙心印:劉國松回顧展》,桃園縣政府 文化局,台灣桃園, 2007,彩色圖版,頁 104-105


156

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1992 Wooden sculpture 47(L) x 37(W) x 52(H) cm Engraved Ju Ming in Chinese and dated '92 PROVENANCE: Heritage Arts - Fine Modern Oil Paintings, Sculpture and Pottery Sale, Taipei, January 12, 1997, lot 32

NT$ 4,800,000-6,000,000 US$ 160,000-200,000 HK$ 1,171,000-1,463,000

朱銘 太極系列 1992 木雕 47(長) x 37(寬) x 52(高) cm 簽名雕刻:朱銘 '92 來源: 傳家藝術精品拍賣會,台北,1997年 1月12日,編號32

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104


157

JU Ming

(Taiwanese, b. 1938)

Taichi Series – Single Whip 1995 Bronze, edition no. 9/40 40(L) x 20(W) x 23(H) cm Engraved Ju Ming in Chinese, numbered 9/40 and dated '95 PROVENANCE: Collection of B&W Private Equity Fund, U. S. A. This sculpture is to be sold with a certificate of authenticity issued by Jan Youn Sculpture Gallery, Taipei.

NT$ 2,900,000-3,800,000 US$ 96,700-126,700 HK$ 707,000-927,000

朱銘 太極系列—單鞭下勢 1995 銅雕 9/40 40(長) x 20(寬) x 23(高) cm 簽名雕刻:朱銘 9/40 '95 來源: 美商私募基金收藏,美國 附雋永畫廊開立之藝術家簽名之原作保證書


158

XU Maomao (Chinese, b. 1979)

Electronic Ants 2004 Oil on canvas 120 x 180 cm Signed lower right Xu Maomao in Chinese and dated 04.11 Titled on the reverse Electronic Ants in Chinese, dated 2004.11 and inscribed 120 x 180

NT$ 140,000-280,000 US$ 4,700-9,300 HK$ 34,000-68,000

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徐毛毛 電子螞蟻 2004 油彩 畫布 120 x 180 cm 簽名右下:徐毛毛 04.11 簽名畫背:電子螞蟻 2004.11 120 x 180


159

XUE Song

(Chinese, b. 1965)

Red 2008 Mixed media on canvas, collage 100 x 50 cm Signed lower right Xue Song in Chinese Titled on the reverse Red in Chinese, inscribed 100 cm x 50 cm, signed Xue Song in Chinese and English and dated 2008

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

薛松 大紅 2008 綜合媒材 畫布 拼貼 100 x 50 cm 簽名右下:薛松 簽名畫背:《大紅》100 cm x 50 cm 薛松 Xue Song 2008


160

CHEN Liu

(Chinese, b. 1973)

At the Roadside 2001 Watercolor on paper 61.5 x 85 cm Signed lower right Chen Liu in Chinese and dated 2001.1.28

108

陳流 ILLUSTRATED: Album of Chen Liu's Water Colors, Yunnan Fine Arts Press, Kunming, Yunnan, 2001, color illustrated, p. 33

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

在路邊 2001 水彩 紙本 61.5 x 85 cm 簽名右下:陳流 2001.1.28 圖錄: 《陳流水彩畫集》,雲南美術出版社,雲南 昆明,2001,彩色圖版,頁33


161

XIA Junna

(Chinese, b. 1971)

Missing 2002 Oil on paper 42 x 30 cm Signed lower right XJN in English and dated 2002

NT$ 200,000-300,000 US$ 6,700-10,000 HK$ 49,000-73,000

夏俊娜 思念 2002 油彩 紙本 42 x 30 cm 簽名右下:XJN 2002


162

CAO Jingping (Chinese, b. 1972)

Yellow Dragonfly 2004 Acrylic on canvas 89 x 116 cm Signed lower right Jingping in Chinese and CJP in English, dated 2004.11 Signed on the reverse Cao Jingping in Chinese and English, titled Yellow Dragonfly in Chinese and English, inscribed acrylic, 89 x 116 cm and dated 2004

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

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曹靜萍 黃蜻蜓 2004 壓克力 畫布 89 x 116 cm 簽名右下:靜萍 CJP 2004.11 簽名畫背:曹靜萍 C a o J i n g p i n g 黃蜻蜓 Yellow Dragonfly Acrylic 89 x 116 cm 2004


163

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds - Thalassian 2007 Oil on canvas 118 x 162 cm Titled on the reverse Pork Belly Series - Flesh, Flowers and Birds - Thalassian in Chinese, signed Chang-Ling in Chinese and dated 2007

常陵 This painting is to be sold with a certificate of authenticity issued by Impression Gallery, Taipei.

NT$ 240,000-350,000 US$ 8,000-11,700 HK$ 59,000-85,000

五花肉系列—肉花鳥—海龜圖 2007 油彩 畫布 118 x 162 cm 簽名畫背:五花肉系列—肉花鳥—海龜圖 常陵 2007 附印象畫廊開立之原作保證書


164

CAO Jingping (Chinese, b. 1972)

The Bee 2005 Acrylic on canvas 150 x 65 cm Signed lower right Jingping in Chinese and CJP in English, dated 2005 Signed on the reverse Cao Jingping and titled The Bee in Chinese and English, inscribed 150 x 65 cm, acrylic and dated 2005

NT$ 140,000-220,000 US$ 4,700-7,300 HK$ 34,000-54,000

曹靜萍 蜜蜂 2005 壓克力 畫布 150 x 65 cm 簽名右下:靜萍 CJP 2005 簽名畫背:曹靜萍 CAO JINGPING 蜜蜂 The Bee 150 x 65 cm Acrylic 2005

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165

GAO Huijun (Chinese, b. 1966)

Clouds on Jingting Mountains 2005 Oil on canvas 100 x 120 cm Titled on the reverse Clouds on Jingting Mountains in Chinese, signed G. Huijun, Heshang in English and dated 2005

NT$ 220,000-350,000 US$ 7,300-11,700 HK$ 54,000-85,000

高惠君 敬亭山上的雲團 2005 油彩 畫布 100 x 120 cm 簽名畫背:敬亭山上的雲團 河上 G. Huijun 2005


166

PANG Jiun

(Chinese, b. 1936)

Lilies 1998 Oil on canvas 45 x 52 cm Signed lower right Pang Jiun in Chinese and dated 1998 With one seal of the artist

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

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龐均 香水百合 1998 油彩 畫布 45 x 52 cm 簽名右下:龐均 1998 鈐印右下:均


167

GAO Huijun (Chinese, b. 1966)

Nostalgia 2006 Oil on canvas 120 x 100 cm Titled on the reverse Nostalgia in Chinese, signed G. Huijun, Heshang in English and dated 2006

NT$ 200,000-350,000 US$ 6,700-11,700 HK$ 49,000-85,000

高惠君 思歸圖 2006 油彩 畫布 120 x 100 cm 簽名畫背:思歸圖 河上 G. Huijun 2006


168

YIN Kun

(Chinese, b. 1969)

Chinese Baby No. 15 2004 Oil on canvas 100 x 120 cm Signed lower right Yin Kun in Chinese and dated 2004.11

NT$ 220,000-350,000 US$ 7,300-11,700 HK$ 54,000-85,000

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尹坤 中國娃娃 No. 15 2004 油彩 畫布 100 x 120 cm 簽名右下:尹堃 2004.11


169

CHEN Liu

(Chinese, b. 1973)

The Celestial Series - Ride on the Flying Pig 2007 Oil on canvas 140 x 80 cm Signed lower left Chen Liu in Chinese and dated 2007.2.18 ILLUSTRATED: Chen Liu: The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, p. 66

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 73,000-122,000

陳流 天空界之天神拱豬 2007 油彩 畫布 140 x 80 cm 簽名左下:陳流 2007. 2. 18 圖錄: 《陳流:天降大任》,藏新藝術有限公司, 台北,2008,彩色圖版,頁66


170

YANG Ren-ming (Taiwanese, b. 1962)

New Plants Grown from Black Water - Railing 1993 Oil on canvas 80 x 100 cm Titled on the reverse New Plants - Railing in Chinese, dated 1993, inscribed 100 x 80 cm, oil on canvas and signed Yang Ren-ming in Chinese

NT$ 280,000-350,000 US$ 9,300-11,700 HK$ 68,000-85,000

楊仁明 從黑水長出來的新植物—欄杆形態 1993 油彩 畫布 80 x 100 cm 簽名畫背:新植物─欄杆型態(三)1993 100 x 80 cm 油布 楊仁明 「從黑水長出來的新植物」系列,黑水隱喻 外在現實環境與內在心理情境,畫面中黑水 污濁紛擾,可能是隱晦不明,或為強而有力 的漩渦狀,構築出混沌的大空間,更像是能 吞噬萬物的神秘黑洞,而受此環境孕育再生 的新植物是畫面中的主角,尖錐形、環形、 鉤形、槽形、欄杆形不一,但同樣地堅實而 孤立,冷冽尖銳的外形像是無言的控訴,自 我隔離於外在時空,是對未來生態環境的暗 喻。每當看到楊仁明作品中的「黑水」時, 令人所聯想到是但丁「神曲」中地獄中那條 兇惡的水,水色深黑如墨,亦如熱瀝青般 滾燙,裡頭受刑的不是犯罪者的靈魂,而是 一顆顆知識份子和藝術創作者所受煎熬的靈 魂。 楊仁明經歷1980、1990年代的交替,正是台 灣面臨四十多年來最大的衝擊、轉變:解 嚴、開放黨禁、媒體開放、國共關係改變、 頻繁的街頭運動、生態環保議題的顯現,再 再造成政治、經濟、人文領域的解構重組, 1990年���前後成為台灣藝術界空前蓬勃成長 的時期,新的藝術族群便是在本 土生態環境 丕變與外來文化衝擊之下產生,在這樣的創 作空間下,台灣蘊育出這麼一位當代抽象藝

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術家-楊仁明。而楊仁明更將自我的思考衝 擊顯現在作品《從黑水長出來的新植物-欄 杆形態》中,猶如柵欄的阻隔成為畫面的重 心,似也隱喻「思考」的繁複。

In the “New Plants Grown from Black Water Series”, the black water alludes to both the external environment and inner psychological circumstances. In the pictures, the filthy and turbid black water can be obscure and unclear, or whipped up into forceful eddies, like a black hole that can swallow anything in its path. The central figures of these works are the new plants that draw nourishment from this environment. They come in various shapes, from points to rings, hooks, grooves and rails, but they are all sturdy and solitary. Their sharp outlines are like wordless accusations, and their isolation from time and space are an allusion to the future of the environment. When people see “Black Water”, they think of the fierce waters of hell in Dante’s “Divine Comedy”, the deepest, darkest black and boiling like tar. The souls being punished in that water are not sinners but intellectuals and creators of art. Yang Ren-ming witnessed the transition from the 1980s to the 1990s, which heralded the most drastic shocks and transformations Taiwan had seen in forty years: the end of martial law, the lifting of the ban on political parties, media freedoms, a changed relationship with Mainland China, widespread street demonstrations and the emergence of environmental issues reshaped politics, the economy and human relations. The 1990s was a period of unprecedented growth in the Taiwanese art scene. New art groups grew out of changes in the local environment and clashes of culture. It was this creative environment that produced the abstract contemporary artist Yang Ren-ming. Yang presents his own conceptual self-conflict in his work “New Plants Grown from Black Water – Railing”, where a raillike barrier becomes the center of the image, which also seems to allude to the complexity of thought.


171

ZHANG Handong (Chinese, b. 1964)

Magic Dance 1999 Oil on canvas 114 x 90 cm Signed lower right Handong and dated 99.1 in Chinese

NT$ 300,000-500,000 US$ 10,000-16,700 HK$ 73,000-122,000

張漢東 神舞 1999 油彩 畫布 114 x 90 cm 簽名右下:漢東 九九 元

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172

DU Xi

(Chinese, b. 1980)

Yang Zongbao and Mu Guiying (diptych) 2009 Oil on canvas 100 x 130 cm Signed lower left Du Xi in Chinese

NT$ 120,000-180,000 US$ 4,000-6,000 HK$ 29,000-44,000

杜溪 楊宗保與穆桂英(雙聯幅) 2009 油彩 畫布 100 x 130 cm 簽名左下:杜溪

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173

CHIU Ya-tsai

(Taiwanese, b. 1949)

Confident Gentleman in Blue 1998 Oil on canvas 130 x 97 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 600,000-900,000 US$ 20,000-30,000 HK$ 146,000-220,000

邱亞才 藍衣紳士 1998 油彩 畫布 130 x 97 cm 簽名左下:邱亞才

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174

JIA Gang

(Chinese, b. 1974)

Warm Us or Burn Us 2008 Oil on canvas 200 x 150 cm Signed on the reverse Jia Gang in Chinese and dated 2008

NT$ 800,000-1,000,000 US$ 26,700-33,300 HK$ 195,000-244,000

賈剛 溫暖我們 還是燃燒我們 2008 油彩 畫布 200 x 150 cm 簽名畫背:賈剛 2008

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175

Michell HWANG (Taiwanese, b. 1948)

Men in Taipei 1992-1993 Oil on canvas 162 x 130 cm Signed lower right Che in Chinese and dated 1993 Signed on the reverse Hwang Ming-che in Chinese, inscribed 100F, titled Men in Taipei in Chinese and dated 1992-93

NT$ 1,200,000-1,800,000 US$ 40,000-60,000 HK$ 293,000-439,000

黃銘哲 台北的男人 1992-1993 油彩 畫布 162 x 130 cm 簽名右下:哲 1993 簽名畫背:黃銘哲 100號 台北的男人 1992-93

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176

Walasse TING

(Chinese-American, 1929-2010)

Do You Like My Red Hair ? 1986 Acrylic and crayon on canvas 75 x 100 cm Titled on the reverse Do You Like My Red Hair? in English, signed Ting in English and dated 86

NT$ 1,200,000-2,600,000 US$ 40,000-86,700 HK$ 293,000-634,000

丁雄泉 你喜歡我的紅頭髮嗎? 1986 壓克力 蠟筆 畫布 75 x 100 cm 簽名畫背:Do You Like My Red Hair? Ting 86

丁雄泉早年在巴黎創作時期,馬蒂斯的繪畫 曾帶給他很大的影響,使他偏愛亮麗的色彩 與鮮明的對比。除此之外,來自於中國民間 彩繪的影響,亦使他對瓷土的淨白、設色後 的自然與營造出的透明感情有獨鍾。1970年 代後期,丁雄泉獨特的創作風格日漸形成, 融入「中鋒」的書寫動作及狂草的律動,他 以書法的筆觸勾勒輪廓,再汲取中國版畫的 技巧,以艷麗的壓克力彩平塗線條內的空 間,自然優美卻又瀟灑暢快。 在題材選擇上,丁雄泉多半描繪青春的少 女,他樂於將她們各個生命的微妙動人處表 現出來。西方的面孔與色彩,融合著嬌羞、 嫵媚與矜持之美。此幅《你喜歡我的紅頭髮 嗎?》創作於1986年,透明與鮮活的色彩並 置,色與色之間的對比呼應極融洽協調,熱 情洋溢的模特兒散發的熱力如陽光下盛開的 花朵,蘊含著萬般柔情,記載著畫家生命中 一段難忘的邂逅。

During Walasse Ting's early Paris period, he was deeply influenced by Matisse's painting, because there are always beautiful colors and bright contrast in his painting. Influences also came from traditional Chinese colored drawings; he also loves the white in porcelains and the transparency in nature paintings. After the late 70's, Walasse combined both the spirit in cacography and techniques in woodblock prints, gradually developed his unique creative style. When choosing the theme for his painting, Walasse Ting painted mostly young girls. He enjoyed bringing up their attractive spots, with Western faces, and veiled them with their charming beauty. "Do You Like My Red Hair?" was painted in 1986; it has transparency and vivid yet harmonic colors, the passionate model in the picture looks like a blooming flower in the sun, tender and delicate, just like an unforgettable summer affair of the artist himself.

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177

J. C. KUO

(KUO Jen-chang) (Taiwanese, b. 1949)

Grow 2008 Mixed media on canvas, collage 130 x 200 cm Signed lower left J.C. Kuo in Chinese and English, dated 2008 EXHIBITED: J.C. Kuo Solo Exhibition: Before & After 2008 Floating, Asia Art Center, Taipei, March 28 April 26, 2009

NT$ 1,600,000-2,600,000 US$ 53,300-86,700 HK$ 390,000-634,000

郭振昌 蛻變 2008 綜合媒材 畫布 拼貼 130 x 200 cm 簽名左下:郭振昌 2008 J.C. Kuo 展覽: 《郭振昌個展:2008年前後-浮.動》, 亞洲藝術中心,台北,展期自2009年3月28 日至4月26日

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178

LIEN Chien-hsing (Taiwanese, b. 1962)

Affection in the Forsaken City 2008 Oil on canvas 112 x 194 cm Signed lower left Lien Chien-hsing in Chinese and dated 2008 Titled on the reverse Affection in Forsaken City in Chinese, dated 2008 and signed Lien Chienhsing in Chinese EXHIBITED: Madden Reality: Post-Taipei Art Group, Taipei Fine Arts Museum, Taipei, January 21- April 5, 2009 ILLUSTRATED: Madden Reality: Post-Taipei Art Group, Taipei Fine Arts Museum, Taipei, 2009, color illustrated, p. 108

NT$ 1,300,000-2,300,000 US$ 43,300-76,700 HK$ 317,000-561,000

連建興 荒城有情 2008 油彩 畫布 112 x 194 cm 簽名左下:連建興 2008 簽名畫背:荒城有情 2008 連建興 展覽: 「叛離異象:後台北畫派」,台北市立美術 館,台北,展期自2009年1月21日至4月5日 圖錄: 《叛離異象:後台北畫派》,台北市立美術 館,台北,2009,彩色圖版,頁108

解讀連建興的作品,近乎電腦3D遊戲華麗 逼真的場景,並不是打動人心的核心價值, 其最先也最易讓人切入感想的,是他對於人 類「冒犯自然」所做的視覺諷刺方式,以及 他對於物質文明所持有的批判態度。連建興 自九十年代以來所形成的「魔幻寫實」風格 的系列畫作,真正的企圖正是為了超越技法 上的藩籬,在明確描繪的日常景物中進行突

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兀或者難解的圖像結合,又或是在高度寫實 的場景下加入有暗示性的象徵符號及角色扮 演,營造出一個有別於真實世界又異常合理 的心理際遇,從而給畫作賦予更多隱喻的人 文意涵。 《荒城有情》的基本繪畫元素「廢墟遺址」 乃是對過往某一時期的人文活動所建構而起 的有其特定機能公用之建築場景空間,隨著 時間的漸遞,功能消失,或被遺忘或被傳 頌,或被神化童話預言,或被紀念,經過一 段時間的洗鍊和自然浸蝕風華而呈現一種 蕭瑟悽楚或壯麗崇高而有震攝心靈,懷舊過 往,警世啟發時 間飛逝飄緲及對某種已經 消逝的產業之憑弔。(參閱《叛離異象:後台北畫 派》,台北市立美術館出版,台北,2009,頁106)

When construing Lien Chien-hsing's works, we find the vivid, deluxe scenes, similar to 3D computer games, do not touch the core value of our hearts. What associates people to feeling first and most easily is his visual ironic to the "offense to nature" by human being and his critics towards material civilization. The real purpose of the series in the style "magic realistic painting" created by Lien Chien-hsing since the 1990s is to surpass the fences of technique, combine abrupt or abstruse images in routine sceneries with definite description, or add implied symbols and role play in highly realistic scenes, creating a psychological fortune different from real world but extremely rational. This way, more metaphoric humanistic meanings are extended to his works.  “The basic pictorial element of 'Affection in the Forsaken City' is 'ruins', which suggests an architectural space that was built for specific functions during a certain phase of human activity and that has gradually lost its functions over time. Forgotten or eulogized, turned into a fairytale or monument, and after being weathered for a period of time, it gives a sense of bleakness or sublimeness that has the effect of inspiring awe, evoking nostalgia, warning about the swift passage of time or mourning the disappearance of an industry.” (Madden Reality: Post-Taipei Art Group, Taipei Fine Arts Museum, Taipei, 2009, p.106)


179

YANG Mao-lin (Taiwanese, b. 1953)

Zeelandia Memorandum L9307 (diptych) 1993 Acrylic on canvas 194 x 260 cm Inscribed upper center FORMOSA in English ILLUSTRATED: Inviting the Immortals - Culture, Intercourse, Tayouan History: Yang Mao-lin, Lin & Keng Gallery, Taipei, 1999, color illustrated, p. 81 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 1,900,000-2,800,000 US$ 63,300-93,300 HK$ 463,000-683,000

楊茂林 熱蘭遮紀事 L9307(雙聯幅) 1993 壓克力 畫布 194 x 260 cm 題識上方:FORMOSA 圖錄: 《請眾仙—文化交配大圓誌:楊茂林》,大 未來畫廊,1999,台北,彩色圖版,頁81 附大未來畫廊開立之原作保證書

自1986年的「圖像英雄」系列之後,楊茂林 以探討社會及地域歷史為出發點,搭配其獨 具的繪畫模式,塑造出楊氏1990年代「圓山 紀事」、「百合紀事」、「熱蘭遮紀事」及 「大員紀事」等重要歷史篇系列。有別於早 期率直的顛覆批判,這些系列化為內省的調 性,而其表現方式,讓觀者有彷佛閱讀文獻 史料一般。 「熱蘭遮紀事」和稍早的「M A D E I N TA I WA N」(台灣製造)系列彼此有所聯 結,亦是藝術家1990年代初期「大員紀事」

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的延伸。楊茂林透過作品吸引人們去重新思 索台灣的成長背景,並描述最先行開創台灣 的荷蘭人之根據地—台南「熱蘭遮城」的故 事,與大航海時代開發台灣之兩位關鍵人 物:荷蘭總督及鄭成功之半身像互相對應, 刻畫出台灣開拓史的滄桑和幾度面對海外移 入者統治的無奈命運。畫面上的肖像、文 字、背景,楊茂林選擇用懷舊古老的味道和 構圖拼貼出對這片土地的追憶,也讓生活在 此的人們沉澱,思考台灣過往至今所擁有與 遺忘的。

Following on from his “Graphic Heroes” series of 1986, Yang Mao-lin produced a number of works that addressed social and historical issues using his unique painting style. Major paintings and historical series of this type that Yang created during the 1990s included: “Yun Mountain Memorandum”, “Lily Memorandum”, “Zeelandia Memorandum”, and “Tayouan Memorandum”. Unlike the frank, direct criticism of his early works, these later pieces are more reflective; the way in which the works are presented gives the viewer a sense that they are reading a historical document. “Zeelandia Memorandum” is related to Yang’s earlier “Made in Taiwan” series, and can also be viewed as constituting an extension of his “Tayouan Memorandum” series from the early 1990s. Yang uses this work to encourage the viewer to reexamine the way in which Taiwan has grown and developed. The painting depicts the story of Fort Zeelandia (today’s Tainan City), the first base that the Dutch built when they established themselves in Taiwan, and of two key figures who each played a major role in Taiwan’s history in the age of exploration: the Dutch governor general of Taiwan, and Cheng Ch’eng-kung. Both are shown half-length, as a matched pair; they represent the trials and tribulations that Taiwan suffered during its colonization, and the island’s misfortune in suffering repeated invasions over the centuries. The portraits, the background views and the accompanying text reflect Yang’s choice of a “nostalgic” feel when deciding on the composition of this painting to present Taiwan’s past. His aim in this work was to get people thinking about what Taiwan has possessed, and what it has lost, over the years.


180

JU Ming

(Taiwanese, b. 1938)

Taichi Arch 1991 Bronze, edition no. 2/20 36(L) x 20(W) x 30.5(H) cm (including the base) Engraved Ju Ming in Chinese, dated '91 and numbered 2/20 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation - Juming Museum.

NT$ 1,200,000-2,200,000 US$ 40,000-73,300 HK$ 293,000-537,000

朱銘 太極拱門 1991 銅雕 2/20 36(長) x 20(寬) x 30.5(高) cm (含底座) 簽名雕刻:朱銘 2/20 '91 附財團法人朱銘文教基金會—朱銘美術館所 開立作品鑑定報告書

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181

LIU Xiaodong (Chinese, b. 1963)

Scent of Grass 2003 Oil on canvas 76 x 93 cm Signed lower left Xiaodong in Chinese and dated 03 Titled on the reverse Scent of Grass in Chinese, inscribed 76 x 93 cm, dated 2003 and signed Liu xiaodong in Chinese and English

NT$ 850,000-1,000,000 US$ 28,300-33,300 HK$ 207,000-244,000

劉小東

2002年底劉小東應東海大學之邀擔任美術系 客座教授,當時東海大學有意重振在台灣日 趨沒落的古典繪畫傳統,因而邀請目前在全 世界寫實風格發展完整而精湛的中國中央美 院任教的劉小東來校指導。在台的兩個月期 間,劉小東到台中大肚山寫生,描繪台灣的 常民生活和郊外風景,其中《草香》即在此 時期所完成的創作。 劉小東所畫大多是日常生活場景和境遇,畫 他所接觸到的人,用他的眼睛敏銳地搜索著 當下現實中的個體生活型態。他的作品總是 源於他沉浸在都市生活中積極的感受,在反 映社會平民百姓的同時,也寄寓了對他們的 認同和理解,所以他筆下的人物充滿著現實 生活中萌發和湧動的生命力量。劉小東的社 會寫實主義風格在《草香》中一覽無遺,他 以異常細膩的感受力,呈現出台灣的特色風 景和人文。

草香 2003 油彩 畫布 76 x 93 cm 簽名左下:小東 03 簽名畫背:草香 76 x 93 cm 2003 劉小東 LIU XIAODONG 小東 03

In 2002, Liu Xiaodong was invited to the Tunghai University Fine Arts Department as a visiting professor. Tunghai University wanted to revive the tradition of classical painting, which was increasingly disappearing in Taiwan, so they invited Liu, who was teaching at the China Central Academy of Fine Art, and is the world’s most accomplished realist landscape painter, to direct the effort. In his two months in Taiwan, Liu travelled to Dadu Mountain for life studies, depicting the lives of ordinary Taiwanese people and the scenery of the surrounding countryside. “Scent of Grass” was one of the paintings he created during this time. Liu Xiaodong mostly paints scenes and encounters from everyday life and the people he comes in contact with, using his keen eye to capture the state of individual existence in the current reality. His works are always rooted in his accumulated perceptions from immersion in city life, and as he reflects the common people in society, he also grants them recognition and understanding. This lends his works a thriving life force. Liu’s signature social realist style is on full display in “Scent of Grass”, where he has applied his uncannily refined perceptivity to present the scenery and character of Taiwan.

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182

ZHANG Huan (Chinese, b. 1965)

Soft-Hard Kung Fu (a set of 16 prints) 2005 Silkscreen on ricepaper, edition no. 10/68 90 x 53 cm (x16) Signed lower center Zhang Huan in Chinese, numbered 10/68 and dated 2005 With one embossed stamp of the artist EXHIBITED: Zhang Huan, Galerie Volker Diehl, Berlin, March 21 - April 26, 2006 (another edition) ILLUSTRATED: Zhang Huan, Galerie Volker Diehl, Berlin, 2006, illustrated, pp. 49-57 (another edition)

NT$ 1,000,000-2,000,000 US$ 33,300-66,700 HK$ 244,000-488,000

張洹 軟硬功夫(16件一組) 2005 絹印 宣紙 10/68 90 x 53 cm (x16) 簽名下方:10/68 張洹 2005 (16張) 鋼印下方:張洹 展覽: 「張洹」,沃爾克.迪爾畫廊,柏林,展期 自2006年3月21日至4月26日(另一版數) 圖錄: 《張洹》,沃爾克.迪爾畫廊,柏林,圖 版,頁49-57(另一版數)

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183

ZHANG Hongtu (Chinese, b. 1943)

Lee Tang - Cézanne - Wind in Pines Among a Myriad Valleys 2001 Oil on canvas 244.5 x 183 cm Signed upper right Song Dynasty, Lee Tang, Wind in Pines Among a Myriad Valleys, 1124A. D, reproduced in 2001, Zhang Hongtu in Chinese With one seal of the artist

張宏圖 EXHIBITED: Dialoque with the Taipei Place Museum: Zhang Hongtu Solo Exhibition, Lin & Keng Gallery, Taipei, February 7 - 29, 2004 Trading Place: Contemporary Art Museum/ Contemporary, Generation, Aesthetics, Technique, Institution, Taipei MOCA, Taipei, April 2 - May 22, 2005 ILLUSTRATED: Dialoque with the Taipei Place Museum: Zhang Hongtu Solo Exhibition, Lin & Keng Gallery Inc., Taipei, 2004, color illustrated, p. 123 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 1,500,000-2,400,000 US$ 50,000-80,000 HK$ 366,000-585,000

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李唐-塞尚-萬壑松風圖 2001 油彩 畫布 244.5 x 183 cm 簽名右上:宋 李唐萬壑松風圖 作於公元一一二四年(1124 A.D) 再製於公元二OO一年(2001 A.D)張宏圖 鈐印右上:張 展覽: 「與台北故宮私對話:張宏圖個展」,大未 來畫廊,台北,展期自2004年2月7日至29日 「偷天換日︰當.代.美.術.館」,台北 當代藝術館,台北,展期自2005年4月2日至 5月22日 圖錄: 《與台北故宮私對話:張宏圖個展》,大未 來畫廊,台北,2004,彩色圖版,頁123 附大未來畫廊開立之原作保證書


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CHU Teh-chun

(Chinese-French, b. 1920)

L'arbre de vie I 1987 Oil on canvas 80 x 65 cm Signed lower right CHU TEH-CHUN in Chinese and English Titled on the reverse L'arbre de vie I in French and Chinese, dated 1987 ILLUSTRATED: Chu Teh-Chun 88 Restrospective, National Museum of History & Thin Chang Corporation, Taipei, 2008, color illustrated, p. 148 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 3,400,000-4,400,000 US$ 113,300-146,700 HK$ 829,000-1,073,000

朱德群 永生樹之一 1987 油彩 畫布 80 x 65 cm 簽名右下:朱德群 CHU TEH-CHUN 簽名畫背:L'arbre de vie I 永生樹之一 1987 圖錄: 《朱德群八十八回顧展》,國立歷史博物 館、馨昌股份有限公司,台北,2008,彩色 圖版,頁148 附藝術家親筆簽名之原作保證書

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中國古代美學理論追求的至高境界是:所貴 於枯澹者,謂其外枯而中膏,似澹而實美。 這一點,在吳冠中評價朱德群的風格中呼應 備至:「中國傳統中對筆墨運轉及對絹或宣 紙質感、肌理的講究創造了東方繪畫宜近看 而耐人尋味的特點。德群在大刀闊斧的油畫 揮寫中竭力發展中國筆韻、墨趣的時代性、 世界性。」「朱德群的作品確是遠看西洋 畫、近看中國畫,他的創造性的手法正適合 借來作為我的觀點的闡明。德群表現中另一 個突出的特點是透明性,粘糊糊的油彩織成 了透明的新裝,那種半透明效果本是中國宣 紙特有的風采,令西方可望不可攀的風采。 朱德群的抽象繪畫不受遠景近景具體物象的 約束,他竭力追求深遠的空間感與具體筆墨 的韻律相結合,是縱深感與形象性都得到最 充分的發揮。」 80年代年代中,朱德群充分運用中國的書法 繪畫的線條、點與粗筆,中國書法的俯仰、 頓挫與縱橫均可見於這個時期的作品當中。 到了 80年代後期,朱德群趨向對自然光線 作更深入的詮釋,並試圖把更多色彩納入畫 面中,以更豐富、更具情感的創作手法, 延續中國文化精神議題,更將色彩納入他創 作中,展現出更為豐富、多情的一面,如 1987年創作的《永生樹之一》,充滿動感的 佈局,畫面肌理得體,準確優美,極富表現 力。畫面中如韻律跳躍、節奏雄健,似交響 樂般的點塊表現,無不既融匯了中國草書俐 落瀟灑的用筆,又呈現了西方韻律、節奏的 視覺美感。

Ancient Chinese aesthetic theory pursues the utmost ambit: The precious of withered is the innermost rich, though withered in appearance, it is beautiful actually. This has been reflected i n t h e a p p r a i s e b y Wu G u a n z h o n g , " I n traditional Chinese ink painting, the moving of brush, the characteristic of rice paper and silk, and the texture have been regarded as the intriguing features of oriental painting, which is suitable for close look. Chu Teh-chun did his utmost in developing Chinese painting rhyme and fascinating modern painting with bold and resolute strokes in his paintings." "Chu Tehchun's works is really like Western painting when viewed from afar, as Chinese painting when stared at nearby. His creative approach is suitable to be used as I stated the view. Chu Teh- chun's painting has another prominent feature, which is transparent. The slimy oil paints have formed transparent dress, and the translucent effect is the features of Chinese rice paper, which is unrivaled by the west. Chu Teh-chun's abstract painting is free from the restriction of the objects, whether in closerange or beyond vision. He has pursued a farreaching sense of combining space and rhythm of specific ink together. His painting has given full play to the painting in respect of depth and image." In the 1980s, Chu Teh-chun had fully used lines, dots, and rough strokes in Chinese calligraphy and painting. The pitching, pause and transition, strokes and brushes in Chinese calligraphy could be found in his works during this period. By the late 1980s, Chu Teh-chun inclined to use natural light in his painting for deeper interpretation and tried to put more colors into picture. He adopted a more extensive and emotional creative way to extend the spirit of Chinese culture. He has also put rich colors into his creative works, which shows affluent and sentimental feelings. "L’arbre de vie I", created in 1987, is depicted in a dynamic layout with delicate fabric, accurate beauty and extreme expression. The painting shows the jumping rhythm with power. The dots and blocks seemed like symphony performance, integrated with the fluency of Chinese cursive writing and the Western rhythm of visual aesthetic.


徐冰,今日最富國際盛名的中國當代藝術家 之一。他的一對《鳳凰》大型裝置獲邀於 2010年上海世界博覽會中展出,佳評如潮, 該作品為本屆世博園區中最大一件藝術品。 從事藝術創作超過三十年,徐冰的藝術於 1990年代早已被寫入世界藝術史教科書中, 而作品為大英博物館、紐約現代美術館等十 多間國際博物館的收藏。

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XU Bing

(Chinese, b. 1955)

Landscript 2004 Ink on Nepalese paper 150 x 300 cm Signed lower right XU BING in English and the artist’s New English Calligraphy script

NT$ 6,000,000-8,000,000 US$ 200,000-266,700 HK$ 1,463,000-1,951,000

徐冰 文字山水 2004 水墨 尼泊爾紙 150 x 300 cm 簽名右下:XU BING 鈐印右下:XU BING

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長年旅居紐約,徐冰的藝術在全球藝文界 聲望卓越。1999年徐冰獲得美國文化界最 高獎—麥克阿瑟獎,表彰其「創造性和對社 會之貢獻」;因其長期對亞洲文化發展的付 出,2003年榮獲日本第14屆「福岡亞洲文化 獎」;2004年英國首屆威爾斯國際視覺藝術 獎中的「世界藝術獎」,將榮耀頒贈給來自 中國的徐冰;而更為因長期運用文字、語言 與書籍,為版畫與當代藝術兩個領域間之對 話作出巨大影響,2006年徐冰獲得全美版畫 家協會頒贈的「版畫藝術終身成就獎」。

從1977年考入北京中央美術學院版畫系起, 徐冰的藝術創作脈絡幾乎都與「文字」相 關。歷年的作品從「天書」、「新英文書 法」、「文化動物」到「文字山水」,都是 從文字的概念發想。徐冰曾說:「我的作品 始終貫穿一個線索,就是對現有觀念的一種 質疑。為什麼用文字?文字是人類文化概念 最基本的一個元素。對文字的改造,就是對 人的思維最本質的那一部分的改造。」

此次拍賣推薦的徐冰巨幅作品《文字山 水》,創作於2004年,那年徐冰與其他15位 國際藝術家被全球知名的《美國藝術》雜誌 評選為「年度最受注目人物」,象徵著他的 豐沛創造力與影響力。

徐冰在這幅《文字山水》畫中書寫一段文 字:「雲是白色的。雲。今日重遊此山印象 很遠又很近。記憶很模糊,但這個三十年前 的寫生本就在眼前,在手中。我喜歡這種北 方的山。這片地上有一些莊稼,但我看不出 來是什麼?像是豆子,因為這種地方只能長 豆子。豆子耐汗和當地的人一樣。」文革期 間,青少年時期的徐冰就曾赴上山下鄉去寫 生,參與勞動與群眾美術運動。對於寫生這 項中國畫的悠久傳統,徐冰並不陌生。1999 年他受芬蘭奇亞斯瑪當代美術館邀請,進行 一個月的「喜馬拉雅寫生計畫」。面對大自 然時,體驗真正的寫生、閱讀風景,將創作 還原到文化的本質。後來發展出的「文字山 水」系列即是實踐了他的觀點,回溯中國自 古以來的「詩、書、畫」融合的理想。

「文字山水」,顧名思義是文字組成的山 水,這正是徐冰的山水畫。初看此畫時, 墨色的線、筆觸,簡直就是一幅寫意的古典 中國山水畫,然而走近端詳後,發現具象的 風景圖案,其實滿佈著「山」、「雲」、 「石」、「草」、「葉」等象形文字符號, 以及不知名的偽文字,它們都化為山水畫裡 的各種自然元素。畫中還穿插一段輕鬆自 述,頗有挖苦與揶揄感。這幅畫既是「寫」 也是「畫」,中國書畫其實本一家。既是 「具象」也是「抽象」,文字既能溝通也是 隔閡,它經過長期文化的演進。然而文字還 原為象形的根本時,即使外國人也能了解其 間的涵意。

Xu Bing is one of today’s most internationally renowned contemporary Chinese artists. At the 2010 Shanghai Expo, his two large-scale installations titled “Phoenix Project” were not only the largest artwork on display, but met with an overwhelmingly positive response from critics and visitors. Xu has been a creative artist for more than 30 years, and his name appeared in art history textbooks as early as the 1990s. His work is part of the collections of numerous international museums and galleries, including the British Museum and the Museum of Modern Art (MoMA) in New York.


徐冰 《古為今用.洋為中用》 羅芙奧香港2010春季拍賣會,編號045, 66萬港幣成交 XU Bing, Make the Past Serve the Present, Make the Foreign Things Serve China (a pair) 2004, ink on paper, 135 x 34.5 cm (x2) Ravenel Spring Auction 2010 Hong Kong, lot 045 US$ 84,724 sold

A long-term resident of New York and a trademark name in the global art market, Xu in 1999 received a MacArthur Foundation Genius Award, one of the most prestigious cultural prizes in the United States, for “his originality, creativity, and capacity to contribute importantly to society.” Furthermore, in recognition of his contributions to Asian culture, he was awarded the 2003 Fukuoka

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Hidden in the panoramic view of this lot are lines of characters, which read, “The clouds are white. The clouds … today I revisited this Mountains, all those distant impressions. Yesterday I was close to death, and the memories are blurry, but the sketches I’ve done over the past 30 years are right before my eyes, the sketchbooks right here in my hands. I love This lot, the super-size work “Landscript”, is this kind of Northern Mountains. Some crops from 2004, the same year that Xu, together grow on this land, but I can’t tell what they are. with 15 other international artists, was featured They’re probably beans, because beans are Ever since 1977, when he enrolled at the in Art in America magazine’s “People in the only thing that Review” column, will grow in a place signifying his status like this. Beans are as an innovative and very drought-hardy, influential trailblazer. just like the people of this land.” During As its name indicates, t h e G r e a t Cu l t u r a l “Landscript” shows Revolution, Xu was a landscape made sent to the countryside up out of Chinese for “reeducation,” characters, a typical and while doing setup for Xu Bing. forced labor and At first glance, one participating in the has the impression 徐冰《鳳凰》2010於上海世博寶鋼大舞台展出 “art for the masses” of a free-hand Xu Bing's "Aerial Phoenix" exhibited at Bao Gang Stage, 2010 Shanghai World Expo movement, he also brushwork painting used the opportunity in the classical to practice his sketching skills. Sketching from Central Academy of Fine Arts in Beijing, Xu’s Chinese style, but a closer observation reveals life has a long tradition in China, and Xu is development as an artist has been intimately that instead of conventional brush-strokes, the very much at home in this genre. In 1999, he intertwined with “script” and “writing,” as elements of the scenery are in fact composed went to the Kiasma Museum of Contemporary even a cursory look at his oeuvre will confirm; of pictographic Chinese characters carrying Art in Finland for the “Landscripts from the titles such as “Book from the Sky”, “New connotations such as “mountain,” “cloud,” Himalayan Journal” project, which focused English Calligraphy”, “Cultural Animal”, or “rock,” “grass,” or “leaf.” Moreover, there is an on sketching from nature, and capturing this lot, “Landscript”, speak for themselves. assortment of faux characters invented by the the essence of landscapes, through close And indeed, they all share a common origin in artist. Together, the “real” and “bogus” scripts observation and a return to cultural specifics concepts and conceptualizations of “characters.” merge into a natural vista with a considerable in the creative process. “Landscript” is a As Xu puts it, “My work invariably possesses undertow of irony and even mockery: on concrete manifestation of this approach, both a a clue implying an attitude—skeptical of the surface, the painting might be seen as an sweeping survey and culmination of the longprevailing beliefs. Why do we use characters? epitome of the ancient Chinese aesthetic axiom standing Chinese tradition of blending poetry, Characters are the most basic element of that painting and calligraphy are just two sides calligraphy and painting into one. human cultures. To reform characters is to of the same coin. Yet Xu’s approach pushes reform the most basic substance of human this idea to the point where the concrete and thinking.” the abstract begin to overlap in a confusing Asian Culture Prize, and in 2004 was given the first Wales International Visual Art Prize, Artes Mundi. More accolades soon came the Chinese artist’s way, including the 2006 Southern Graphics Council Printmaking Lifetime Achievement Award.

way. In revealing how writing can be used to convey meaning, but also create distance, he exposes the fragile nature of perception and communication. The pictographic or ideographic nature of some of the more basic Chinese characters may allow their meaning to be guessed even by the uninitiated, but most characters are the result of a long and complex evolution, and by no means easily understood.


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YAN Pei Ming (Chinese, b. 1960)

The Little Shanghai Girl 2004 Oil on canvas 250 x 220 cm Signed on the reverse Yan Pei-Ming in English and Chinese, dated 2004 PROVENANCE: Galerie Anne De Villepoix, Paris EXHIBITED: The Way of the Dragon, Galerie Anne de Villepoix, Paris, 2004 ILLUSTRATED: Yan Pei-Ming, Shanghai People’s Fine Arts Publishing House, Shanghai, 2005, color illustrated

NT$ 8,500,000-9,800,000 US$ 283,300-326,700 HK$ 2,073,000-2,390,000

嚴培明 上海女孩 2004 油彩 畫布 250 x 220 cm 簽名畫背:Yan Pei-Ming 嚴培明 2004 來源: 安.德.維爾普瓦畫廊,巴黎 展覽: 「猛龍過江」,安.德.維爾普瓦畫廊,巴 黎,2004 圖錄: 《嚴培明》,上海人民美術出版社,上海, 2005,彩色圖版

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嚴培明的作品展出於2010上海世博法國館 Yan Pei Ming's works at French Pavilion, 2010 Shanghai World Expo

2010年上海世博會法國館帶來奧塞美術館七 件珍寶,有羅丹、米勒、莫內、梵谷、高 更、塞尚、波納爾七位大師繪畫鉅作,向全 世界展示19世紀法國重要文化資產。而法國 館外展示空間,有一張張巨大兒童肖像畫, 這些畫取名為《上海的孩子》,創作者是來 自上海工人階層定居法國長達三十年的嚴培 明。法國館也展示其他兩位中國藝術家,一 位是資深畫家趙無極,另一位已故裝置藝術 家陳箴。上述三位藝術家的作品都曾獲法國 國家現代美術館龐畢度度中心的永久典藏。 而其中,嚴培明還是目前唯一一位在羅浮宮 舉辦個展的在世藝術家。 嚴培明 出身於上海工人家庭,從小喜愛繪 畫。文化大革命期間曾畫過不少工農兵、領 袖、英雄與大字報宣傳畫。許多中國當代藝 術家尚未創作毛澤東主題時,嚴培明已畫過 毛澤東畫像了。1980年前往法國第戎發展, 開始以黑白單色作畫。1987年他開始畫一 系列毛澤東畫像,藉由舉世聞名的毛主席形 象為自我宣傳,人們開始知道嚴培明這位畫 家。後來他發表這些作品,展覽名稱就叫做 「通過他的歷史我的故事剛開始」。他的創

作獲得重視,甚至獲得法國國家藝術獎金羅 馬大獎的榮譽。今日,嚴培明早是歐洲知名 人物,也是中國法國文化交流的重要角色。 嚴培明的繪畫創作以肖像為主,留心社會問 題,人道批判,關懷戰爭、不公平、生存或 死亡等議題。不僅畫名人,他也畫兒童、弱 勢者或默默無名的卑微人物。完成的畫像皆 非常巨大,氣勢憾人,他要讓卑微者也能成 為巨人。少年街頭的記憶—文革時期政治宣 傳畫,對嚴培明的繪畫風格有關鍵性的影 響。其實他的肖像畫也具有傳道或批判的意 味。宣傳畫通常非常巨大,觀看者必須抬頭 仰望,宗教的偶像崇拜也是如此,高大宏偉 的偶像使觀看者顯得渺小。不過嚴培明的肖 像畫既是偶像崇拜,也是偶像攻擊。畫中人 物並非總是神采奕奕,他們也會顯露疲態或 軟弱。 世博會上展出的《上海的孩子》多是畫鄰居 或朋友的孩子,大多是尋常人家的下一代, 畫裡有的人嘻笑,有的哭泣,有的蹙眉,有 的調皮,詮釋兒童的眾生相。嚴培明曾說他 非常喜歡小孩,小孩是人類的延續和發展的


必需。不過,藝術家自認為他的主調仍是傾 向嚴肅,希望藉由展覽重視兒童的問題,重 視明星之外的弱勢族群。 本次拍品《上海女孩》主角也是來自上海的 孩子,創作於更早的2004年。畫中的女孩瞪 大雙眼,神情慌張,顯得有些無助。2004年 畫家的父親過世。他自覺和父親的情感非常 複雜。父親在世時,他永遠是個孩子。當父 親離開了,接著就是自己。父親、自己與孩 子這三代人的議題,將會一直出現在他的創 作中。2005年嚴培明回到中國舉辦盛大個 展,將展覽題獻給父親。這是他非常在意的 發表,其中一站就選擇在故鄉上海。 他常自稱像是上海來的孤兒,以文化孤兒的 眼光看著世界,單打獨鬥闖蕩藝壇,他不代 表中國也不代表法國,只代表自己。其實, 嚴培明非常關心中國下一代及他們的未來。 許多嚴培明的名人偶像或卑微人物的畫像, 多少都帶有自畫像的投射,映照出他對社會 議題的終極關懷。

The 2010 Shanghai Expo treats its visitors to seven major artworks from the Musée d’Orsay in Paris, including a sculpture by Auguste Rodin and six paintings by renowned artists Jean-François Millet, Édouard Manet, Vincent van Gogh, Paul Gauguin, Paul Cézanne, and Pierre Bonnard-a veritable cross section of

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19th century French visual art. Yet in the space outside the France Pavilion is exhibited a series of portraits of young children titled “Children of Shanghai”, which are the work of Yan Pei Ming, a Chinese painter from a working-class background, who has been living in France for 30 years now. As a matter of fact, the France Pavilion also shows the work of two other Chinese artists, Zao Wou-ki, one of the deans of modern Chinese painting, and the late installation artist Chen Zhen. One thing all three share is that their work is featured in the permanent collection of the Musée National d’Art Moderne at the Centre Georges Pompidou, Paris. Yan Pei Ming has the further distinction of having had a solo exhibition at the Louvre. Born to a worker’s family in Shanghai in 1960, Yan early showed a penchant for painting. Growing up during the Cultural Revolution, he painted many pictures of workers, farmers, soldiers, as well as Communist heroes and party leaders. In addition, he produced propaganda placards and posters. At a time when most contemporary Chinese artists did not dare to tackle the subject, Yan already did portraits of Mao Zedong. He first began to do blacka n d -w h i t e p a i n t i n g s after moving to Dijon in 1982, and in 1987 embarked on a whole series of Mao Zedong portraits, cleverly promoting himself and his work via the iconic face of China’s former leader. When first putting these Mao portraits on public display, he titled the exhibition “Through His History My Stories Just Started.” Yan soon garnered international recognition, and was even awarded the prestigious Prix de Rome. Today, he is a well-known name in

European art circles, and one of China’s most important cultural ambassadors in France. Most of Yan Pei Ming’s paintings are portraits, but they always manage to put their finger on urgent social or moral issues, and directly or indirectly deal with serious topics such as war, injustice, life and death. Yan by no means limits himself to portraits of famous personalities: many of his pictures show children, or are captivating depictions of the underprivileged, members of the anonymous masses. Most of his portraits are very big, or “epic-sized,” overwhelming the observer with their sheer momentum, and allowing even the anonymous nobody to appear a larger-thanlife giant. His experiences as a youth during the Cultural Revolution, when the streets in China’s cities were plastered with propaganda posters or dazibaos, and he himself also made a large number of such political placards, clearly exerted a crucial influence on the development of his style. In fact, all of Yan’s work is suffused with an ideological undercurrent, a deep urge to convey truth and voice criticism. Just like propaganda posters, his paintings are so large that they force the observer to raise his head, as if looking at a religious statute in a church, or an idol demanding sacrifice. In the process, one cannot help but feel small and insignificant. Yet Yan’s portraits are not simple celebrations of their subjects-far from worshipping the depicted figures, he assails and deconstructs them. Under his subversive brushstrokes, political and cultural icons may lose their superficial luster and suddenly appear tired or weak. The series of paintings on display at the Shanghai Expo, “Children of Shanghai”, shows mostly children of neighbors and friends, the next generation of people of ordinary background. Some of them are laughing, some crying, others are knitting their brow or have a distinctly impish look on their face: a comprehensive kaleidoscope of children’s miens. Yan says that he is very fond of children, and that they are humanity’s future, our only hope for tomorrow. The main slant of


嚴培明「猛龍過江」展覽, 安�維勒柏斯畫廊,巴黎,2004 Yan's exhibition, The Way of the Dragon, Galerie Anne de Villepoix, Paris, 2004

his portraits of children, however, is of a rather serious nature, as the artist himself points out. Many of them show children from Third World countries suffering the effects of war, famine and poverty. In addition to calling the viewer’s attention to these problems, this is-artistically speaking-also a reversal of the traditional function of portraits, which often served to glorify famous and important people. This lot, “The Little Shanghai Girl”, was completed in 2004, the year that the artist’s father passed away. The girl’s eyes are wide open as she stares at us with a flustered and somewhat helpless expression on her face. Maybe here we catch a glimpse of Yan’s own confusion at the time, since his feelings towards

his father had always been very complicated and complex. As long as his father had still been alive, Yan was his child. But now that he was gone, Yan suddenly was completely thrown back on himself, his own mortality put into sharp focus. In the following period, he tried to digest the new situation by repeatedly dealing with the question of the “three generations” in his work-the idea of father, self, and children. When returning to China in 2005 for a grand solo exhibition of his work, he dedicated the traveling exhibition to his father, and made a point of making Shanghai an important stop. Yan Pei Ming often calls himself a “Shanghai orphan,” and says that he sees the world through the eyes of a “cultural orphan,”

someone who had to work his way up from the very bottom with no one but himself to rely on. When he burst onto the international art scene, it was neither as a representative of China, nor as a representative of French art. No, he did it by himself and for himself. But Yan comes from humble beginnings, and he does care a lot about China and the future of her people. If one looks very carefully, there is a subtle hint of self-portraiture in his portraits of both famous and anonymous people: a faint reflection of his ultimate concerns about social issues.


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ZHANG Xiaogang (Chinese, b. 1958)

Bloodline Series - Big Family 1998 Oil on canvas 80 x 100 cm Signed lower right ZHANG Xiaogang in Chinese and English, dated 1998 PROVENANCE: Hanart Gallery, Hong Kong EXHIBITED: Bloodline: Big Family, Hanart TZ Gallery, Taipei, 1998 Image Is Power: Wang Guangyi, Zhang Xiaogang, Fang Lijun, He Xiangning Art Museum, Shenzhen, China, 2002 Z h a n g X i a o g a n g , To k y o Wa n d e r S i t e , Tokyo, 2006 ILLUSTRATED: Umbilical Cord of History: Paintings by Zhang Xiaogang, Hanart TZ Gallery, Hong Kong, 2004, color illustrated, p. 102

NT$ 26,000,000-40,000,000 US$ 866,700-1,333,300 HK$ 6,341,000-9,756,000

張曉剛 血緣系列─大家庭 1998 油彩 畫布 80 x 100 cm 簽名右下:張曉剛 ZHANG Xiaogang 1998 來源: 漢雅軒畫廊,香港 展覽: 「血緣:大家庭」,漢雅軒,台北,1998 「圖像就是力量—王廣義、張曉剛和方力鈞 的藝術」,何香凝美術館,中國深圳,2002 「張曉剛」,東京都驚異世界,東京,2006 圖錄: 《時代的臍帶—張曉剛繪畫》,漢雅軒,香 港,2004,彩色圖版,頁102

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1994年《血緣:大家庭》出現在「第 二十二屆聖保羅雙年展」上,畫家展示了 他心目中的精神的血緣和歷史的家庭。這 個被詩人歐陽江河譽為美術史上第一次明 確出現「中國人的臉,中國人的家庭,中 國人的歷史」的作品,給張曉剛本人以及 中國當代藝術步入國際藝林獲得了無數榮 譽。在那以後,之後的若干展覽中,張曉 剛獲得了普遍的認可。此幅創作於1998年 的《血緣:大家庭》是此類作品的典型。 關於這個作品的來源,張曉剛1995年在 <自述>一文中大所闡釋:「構成近期作 品的因素,除了歷史和現實所賦予我們的 複雜心理外,直接的靈感來源出自私人家 藏的舊照片,以及中國大街上隨處可見的 『炭精素描畫像』。我無法說清楚那些經 過精心修飾後的舊照片究竟觸動了自己 心靈深處的哪一根神經,它們使我浮想聯 翩,愛不釋手。也許正因為處在今天的時 代中這些舊照片已不僅僅給人某種懷舊心 理的滿足感,也許它們所呈現出的某種單 純直接而又充滿了某種虛幻的視覺語言方 式,驗證了我對高深莫測的樣式主義以及 虛誇的浪漫主義的厭棄心理?同時,舊照 片和炭精像一類的圖式語言,體現出我非 常熟悉而又曾經不屑一顧的東西,其中也 包含著中國普通人長期以來所特有的某種 審美追求,比如模糊個性而強調共性, 含蓄,中性而又充滿詩意的審美特性等 等。」 在呂澎看來,「張曉剛的家庭背景是五十 年代出生的人熟悉的『革命幹部』,這類 家庭不同程度地保留著早年革命與建設的 舊照片。這些照片完全不同於更早之前的 那些可以看到長袍馬褂的舊影像—過分的

古老與久遠,相反,從四十年代開始保留 直至七十年代初期之間的老照片與活著的 中國人—父母與子女—有著直接的情感與 歷史淵源,他們甚至共同度過了那些重要 的歷史時期。」 (參閱《張曉剛》,阿特塞帝畫 廊,頁34)整齊和標準的姿勢以及模型化的表 情被認為受過去時代的特徵。但是藝術家 並不僅僅滿足於此,張曉剛希望呈現的是 各種各樣的血緣,關係親情的、社會的、 文化的。從張曉剛「大家庭」的理念可以 看出一種時代的集體特徵,也是讓這系列 的畫作能夠名揚國際的原因,但是張曉剛 曾經自嘲的說,他這個畫大家庭的人,自 己的家庭卻是一塌糊塗。關於家庭和血 緣,張曉剛有過一個經典的總結:「血緣 牢不可破,家庭不堪一擊」。跟前任妻子 離婚後,他從四川搬到北京,因為太過思 念女兒,成為創作「大家庭」之後的系列 作品「記憶與失憶」的緣起。他對女兒的 愛,就像現在的妻子佳佳所說的:「我覺 得他女兒是他身體的一部份,他自己也說 他女兒就是他身上的一根肋骨。我經常也 跟他說,他女兒就是他自己,兩人在一起 不像兩個人,像一個人。」 心靈的敏感和觀察的深刻,使得他每一次 都能緊密地將個人的生活印記同時代的共 同體會結合起來,這種能力越發提升了他 的成功。如今,張曉剛不但是一位完全成 功的藝術家,甚至已經成功到不能失敗的 程度。四川美院的教授,批評家王林說: 「我希望他有更大的成就和成功,而且期 待他在世界美術史上佔有重要地位,讓我 們曾經一起奮鬥過的歷史,也成為世界藝 術的歷史。」 但是這種成功似乎並沒能緩解他心靈深處 的孤獨。「我永遠不可能畫出陽光開朗、 其樂融融的作品,我的畫永遠都是陰性 的、憂鬱的,這與我的人生經歷有關,我 與家庭的關係讓我始終看到的都是生活的 側面,甚至是背面,而不是它的正面。」

In 1994, Zhang Xiaogang's series "Bloodline: Big Family" made its appearance in the "22nd Sao Paulo Biennial". It is a series which presents the spiritual bloodline and historical family in the eyes of the artist. It


things that I did not find valuable then. Among them was a unique aesthetic appreciation which ordinary Chinese people had been pursuing for a long time, such as aesthetic characteristics w h i c h s u p p re s s i n d i v i d u a l i t y a n d emphosize commonness, and that are implicit and neutral but illed with poetic meaning at the same time."

張曉剛《血緣:大家庭三號》1995 油彩 畫布 仕丹萊收藏2008專拍,4736萬港元成交 ZHANG Xiaogang, Bloodline: The Big Family No. 3 1995, oil on canvas, 179 x 229 cm sale of The Estella Collection 2008, US$6,090,108 sold

is the very series which shows for the first time in the history of fine arts the "Chinese face, Chinese family and Chinese history" as commented by the poet Ouyang Jianghe that brought Zhang Xiaogang and Chinese contemporary art as a whole an abundance of honors and applause. Since then Zhang won general acknowledgement for several of his exhibitions. And the "Bloodline: Big Family" of 1998 is the representative of its kind. As to the origin of the works, Zhang Xiaogang explained in his Self Narrative in 1995 "Recently, I get direct inspirations for my works from personally kept photos or charcoal drawings which can be seen anywhere on the streets of China, as well as the complex mental state which history and reality has given us. l can't really say which part of the carefully decorated old photograph touched a nerve deep inside my soul. However, they let endless thoughts spring out of me, and make it impossible to get it off my hands. Perhaps these old photos do more than just satisfy people's certain retrospection. The simple, candid, dreamy vision and linguistic methods it bears are so profound that it somehow proves my hatred for the incomprehensible Formalism and exaggerated Romanticism. To me, old photos and charcoal drawings are quite familiar like a schematic language, and at the same time, they are presenting

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In the eyes of Lu Peng, "Zhang Xiaogang was born in a family of revolutionary cadre, a kind of family familiar to those in the 50s. And it is the custom of such families to keep o l d p h o t o s a b o u t re v o l u t i o n a n d construction in early days. Different from the earlier and older pictures of Chinese-style long robe, these pictures, from the 40s to early 70s, carry a direct emotional and historical relatedness with parents and their children and with the living Chinese as a whole. They even witnessed the historic moments shoulder by shoulder." (Zhang Xiaogang, A r t s i d e G a l l e r y, P. 3 4 ) U n i f o r m g e s t u r e s a n d standardized expression are the features of the old time, as generally considered, however, Zhang Xiaogang, far less satisfied with this, has greater expectations, that is, to exhibit various blood lines, social or cultural. The "big family" concept of Zhang Xiaogang relects a common characteristic of the time and wins name and fame for his series works in the international artistic world. However, Zhang Xiaogang once mocked himself saying it was the same successful big family painter that went bankrupt with his own family. Thus the artist concludes: "bloodline is unbreakable while family is vulnerable". After divorcing, he moved from Sichuan to Beijing and it was his affection and compassion for his daughter that gave birth to the series "Amnesia and Memory" following "Big Family". Just as his second wife said, "I think, his daughter is just a part of him. He also

said himself that his daughter was a rib from his body. I often say to him his daughter is himself. They are not two persons but one." The sensitiveness and ability of profound observation grants the artist the gift to connect his personal life closely with the time and society, which raises him to the heights of art. Now, Zhang Xiaogang is a universally acknowledged successful artist, an artist whose success is far beyond failure. Wang Lin, art critic and a professor in the Sichuan Academy of Fine Arts said: "I wish to see more achievements and bigger success with him and am expecting him to get a sound footing in the world history of fine arts. The history of our joint efforts will become part of the history of world art." However, the sensational success seems still unable to eliminate the feeling of loneliness deeply rooted within him. He said: "I can never expect to make any sunny and happy paintings. My paintings are all cloudy and melancholic. Maybe it is because of my experience for the relationship between my family and I always displays the negative side or dark back of life, never the positive face".

張曉剛《血緣:大家庭一號》1994 油彩 畫布 蘇富比香港2008年10月4日拍賣會,2306萬港元成交 ZHANG Xiaogang, Bloodline: The Big Family No. 1 1994, oil on canvas, 150 x 179 cm Sotheby’s Hong Kong, Oct. 4, 2008, US$2,940,986 sold


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ZAO Wou-ki

(Chinese-French, b. 1921)

Le jardin abandonné 1955 Oil on canvas 53.5 x 65 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French, titled jardin abandonné in French and dated 1955 PROVENANCE: Galerie de France, Paris ILLUSTRATED: Claude Roy, Zao Wou-Ki, Le Musée de Poche – Editions Georges Fall, Paris, 1957, color illustrated, p. 29 Claude Roy, Zao Wou-Ki, Le Musée de Poche – Jacques Goldschmidt, Paris, 1970, color illustrated, p. 35 Zao Wou-ki, Tina Keng Gallery, Taipei, 2010, color illustrated, pp. 34-35

NT$ 13,000,000-26,000,000 US$ 433,300-866,700 HK$ 3,171,000-6,341,000

趙無極 被遺忘的花園 1955 油彩 畫布 53.5 x 65 cm 簽名右下:無極 ZAO 55 簽名畫背:ZAO WOU-KI jardin abandonné 1955

來源: 法蘭西畫廊,巴黎 圖錄: 克羅德.華,《趙無極》,(袖珍美術館 叢書初版),喬治.福爾出版社,巴黎, 1957,彩色圖版,頁29 克羅德.華,《趙無極》,(袖珍美術館叢 書修訂版),雅克.高登史密特,巴黎, 1970,彩色圖版,頁35 《趙無極》,上赫藝術有限公司,台北, 2010,彩色圖版,頁34-35

趙無極曾在自傳裡寫道:「園藝是中國人心 目中的雅事,它讓我想起父親。」1948年趙 無極離開上海,到法國學習繪畫,原本打算 僅停留兩三年,但是沒料到和父親分別後竟 成永遠。他記得當時在上海的家,房子很 大,有大片的草坪和精緻的花園,趙無極畫 畫時,父親就在一旁看,有時也蒔花剪草, 那是一段幸福的回憶。過往的種種,時在藝 術家的腦中浮現,憶起故鄉的親故,憶起文 化的祖國。花園之於趙無極不僅是一個家的 完整,更是一處心靈的避風港。 生命中的情感與記憶自然地皆融入他的創作 之中,對趙無極而言,繪畫其實如同他的日 記,雖然多數創作都是抽象畫,然而那些充 滿詩意與抒情的畫正記錄著他的生命歷程。 趙無極學生時期學習塞尚、馬蒂斯等現代畫 風,後來到巴黎飽覽美術館裡的藝術收藏, 大開眼界,作畫的興致高昂,初期繪製了不 少具象的石版畫,和具有素描特質的風景油 畫。畫裡的風景、建築和大自然,人物與動 物都是其中的元素,但是不是畫的主題,逐 漸地他以宇宙的觀點來詮釋這些圖畫,「符 號」開始在他的繪畫中出現了。 1951年在瑞士看到克利的畫展,大受感動。 克利喜愛東方的繪畫,自由暢快經營一方詩 意空間,那些小小的色彩、線條與符號,讓 趙無極為之目眩神迷。克利的畫指引他一條 通往抽象藝術的道路。1954年之後他走進中 國的古文字世界,中國書畫的佈局與意象, 何其豐富華美。此時他的繪畫風格轉向非具 象,以類似甲骨文、鐘鼎文的抽象符號,用 變化多端的色彩、詩意的空間來傳達東方的 精神。

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創作於1955年的油畫作品《被遺忘的花 園》,畫中穿梭著文字書寫般的符號,藉由 這些神祕的符號,畫家賦予一種暗示,其中 也潛藏著悲壯的戲劇張力。在一 片墨綠色的 自然裡,細小的線條翻騰,色塊躁動,象徵 著花園裡的不安狀態。這處心靈花園或許是 荒蕪了,因為人的離開,畫中充滿藝術家的 惆悵思緒。人的離開,指的是與家園父親的 分別,也可能隱喻著自己情感的變化,妻子 景蘭即將離去。趙無極是一位情感纖細的藝 術家,繪畫乃是生活的指標,更是生命的重 心。 1955年到1956年間,因為與妻子間的感情問 題,趙無極的心情陷入無比的低潮,毀滅性 的、悲涼的情緒,時常籠罩著他。然而,這 段期間的作品他創作如《向屈原致敬》、 《向杜甫致敬》(1956)、《友人之碑》及 《黑色足跡》等膾炙人口的巨作。在1950年 代前期,他為自己的畫加上標題,但是卻沒 有敘事性之用意。我們可以說,理性的思辨 難以分析他的繪畫,唯有詩意的感知,透過 情感才能理解他的繪畫。從1955年後,趙無 極完全放棄的具象畫,他回到中國的經典, 選擇抒情抽象的形式,以中國人的哲學觀來 詮釋自然,繼續開展出一個精采動人的抽象 畫世界。

趙無極《向屈原致敬》1955 油彩 畫布 ZAO Wou-ki, Hommage À Chu-yun 1955, oil on canvas, 195 x 130 cm


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Zao Wou-ki once wrote in his autobiography, “Gardening is a noble pastime among the Chinese, and it reminds me of my father” (Jardinier, pour un Chinois, est un passe-temps noble et me rappelle mon père.). In 1948 Zao left Shanghai to learn art in France, originally for only a few years, but his separation from his father proved to be permanent. He remembered his home in Shanghai; the house was large, the lawn was wide, and the garden was exquisite. When Zao drew, his father would look on, or sometimes prune the shrubs and bushes nearby; that is a blissful memory for Zao. The past resurfaces in the mind of the artist, carrying memories of a faraway home, of a distant culture, and of a unique country. The garden not only symbolizes the completeness of home for Zao, it is a harbor of calm in the storms of life, and a refuge for his soul. The emotions and memories of his life naturally flow into his art. To Zao, his art is like his diary. Although most are abstract, such expressions of poetry and sentimentalism are surely a fitting reflection of his life. As a student, Zao learned of the styles of masters such as Cézanne and Matisse, and gorged himself on the collections of art in the museums of Paris. His artistic sails bloomed full, and in the early days he created numerous lithographs, as well as scenic paints of sketchlike qualities. Scenery, buildings and nature, humans and animals were all a symbolic part of his art, but not themes of his art. Eventually he began to reinterpret these symbolic appearances from the perspective of the universe, and “symbols” began to appear in his works. In 1951 Zao saw an exhibit of Paul Klee in Switzerland, and was entranced. Klee favored

Eastern art, and worked within a small poetic space; his petite colors, lines and symbols enthralled Zao and led him down the path of abstract art. After 1954 Zao entered the realm of ancient Chinese calligraphy, attracted by the structure and meaning within Chinese art. He has by now left the figural, and is using abstract symbols similar to oracular runes and

趙無極《黑色足跡》 1955 油彩 畫布 匹茲堡卡內基藝術中心收藏 Zao Wou-ki, Foule noire 1955, oil on canvas, 116 x 89 cm Collection of Museum of Art, Carnegie Institute, Pittsburgh

bronze bell carvings, within a poetic space and with endless variety of colors, to present the spirit of the East. "Le jardin abandonné" (The Abandoned Garden), an oil on canvas created in 1955, is dominated by criss-crossings of symbols

similar to words. Through these symbols the artist gave the work suggestibility and a sense of tragic, theatrical tension. In this field of dark green Nature, thin lines twirl and colors dance restlessly, symbolizing the sense of unrest in the garden. Perhaps the garden is abandoned, and the departure of man leaves behind only the artist’s melancholy and regret. The departure of man was the departure of his father, or his own personal emotive changes; his wife Lan-Lan was about to leave as well. Zao is a sensitive artist, and his art is not only indicators of his life, but an anchor for his life as well. Between 1955 and 1956, his problems with his wife drove him to emotive depths, and he was frequently surrounded by destructive and sorrowful emotions. However, also in this period, he created such renowned masterpieces such as "Hommage à Chu-Yuan" (1955), "Hommage à Tou-Fou" (1956), "Stèle pour un ami", "Foule noire"and others. In the early 50’s his art was titled, but the titles were without narrative intent. We can say that rational thought cannot comprehend his art, and only through emotional understanding can one gain appreciation. After 1955, Zao gave up on figurative art entirely, and returned to the Chinese classics; he chose to interpret nature through Chinese philosophy, and represent it with emotive abstraction, thus continuing his exploration of a wonderful and exciting world of abstractions.


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JU Ming

(Taiwanese, b. 1938)

Taichi Series - Single Whip 1992 Wooden sculpture 48(L) x 31(W) x 48.5(H) cm Engraved Ju Ming in Chinese and dated '92

朱銘 太極系列-單鞭下勢

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

NT$ 12,000,000-18,000,000 US$ 400,000-600,000 HK$ 2,927,000-4,390,000

1992 木雕 48(長) x 31(寬) x 48.5(高) cm 簽名雕刻:朱銘 '92 附亞洲藝術中心開立之原作保證書

1953年朱銘拜三義雕刻宗師李金川門下,學習傳統神像雕刻,就此展開他的雕 刻生涯。1968年朱銘自苗栗北上,跟隨在現代雕刻家楊英風的左右,接受 現代藝術的洗禮,逐漸開啟個人的特殊藝術語彙。 朱銘的「太極系列」雕刻名聞遐邇,以刀斧劈雕巨木的表現, 將太極拳法的意象予以形體化、藝術化,幾近完美地呈現 中國哲人講求天人合一的自然觀美學。朱銘的創作系 列中尤以太極系列最為走紅全球。此件太極作品, 即是以原木搭配太極拳法招式,朱銘利用原始木 材本身的特性加上獨特的雕刻手法,所創作出來 的作品,自成一體,渾然天成。它呈現出來的俐 落和諧美感,亦代表著朱銘的美學觀念。

As an apprentice to the maestro, Li Jin-chuan, in 1953, Ju Ming started his sculptural career by learning traditional woodcarving of gods. In 1968, Ju Ming went north from Miaoli to follow the modern sculptor, Yuyu Yang. He accepted the baptism of modern art, gradually enriching his personal vocabulary of art. Performed with knife and ax chopping and chiseling giant pieces of wood, marking Taichi visualized and artistic, and perfectly presenting Chinese philosophers are particular about the natural esthetics expressing the union of the universe and human beings. Ju Ming gained recognition worldwide by the Taichi series, and it is also the same theme, "Taichi" that won the hearts of the market. This lot, Taichi work is an odd wood being carved in the shape of a Taichi fighter. Ju Ming created it by using the quality of primitive material to add the unique carving technique, and makes itself to be whole just like nature itself. It represents Ju Ming's concept toward esthetics by its simplicity and harmonization.


190

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Underarm Strike 1981 Wooden sculpture 36(L) x 19(W) x 40(H) cm Engraved Ju Ming in Chinese and dated '81 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 3,600,000-4,600,000 US$ 120,000-153,300 HK$ 878,000-1,122,000

朱銘 太極—十字手 1981 木雕 36(長) x 19(寬) x 40(高) cm 簽名雕刻:朱銘 '81 附真善美畫廊所開立之原作保證書

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191

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Side Kick 2000 Bronze, edition no. 10/20 67.3(L) x 43.7(W) x 61.2(H) cm Engraved on the back Ju Ming in Chinese, dated 2000 and numbered 10/20 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 3,800,000-4,800,000 US$ 126,700-160,000 HK$ 927,000-1,171,000

朱銘 太極系列—側踢 2000 銅雕 10/20 67.3(長) x 43.7(寬) x 61.2(高) cm 簽名雕刻:朱銘 2000 10/20 附藝術家親筆簽名之原作保證書

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192

ZHAN Wang (Chinese, b. 1962)

Artificial Garden Rock 2004 Stainless steel, edition no. 7/8 72(L) x 68(W) x 90(H) cm (sculpture) 52(L) x 42(W) x 7(H) cm (base) Engraved Zhan Wang in Chinese, dated 2004 and numbered 7/8

NT$ 3,200,000-4,400,000 US$ 106,700-146,700 HK$ 780,000-1,073,000

展望 假山石 2004 不鏽鋼 7/8 72(長) x 68(寬) x 90(高) cm(雕塑) 52(長) x 42(寬) x 7(高) cm(底座) 簽名雕刻:展望 2004 7/8

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193

JI Yong Ho

(Korean, b. 1978)

Deer 1 2009 Used tire, steel, wood, styrofoam (unique) 195(L) x 55(W) x 120(H) cm Signed back of eyeball JYH in English EXHIBITED: Ji Yong Ho - Mutant Colour, Soka Art Center, Taipei, August 28 - September 20, 2009 ILLUSTRATED: Ji Yong Ho - Mutant Colour, Soka Art Center, Taipei, color illustrated, pp. 21-22

NT$ 850,000-1,200,000 US$ 28,300-40,000 HK$ 207,000-293,000

池龍虎 鹿1 2009 輪胎 鋼 木 聚苯乙烯(單一件) 195(長) x 55(寬) x 120(高) cm 簽名眼睛:JYH 展覽: 「池龍虎個展—突變.繽紛」,索卡藝術中 心,台北,展期自2009年8月28日至2009年9 月20日 圖錄: 《池龍虎個展—突變.繽紛》,索卡當代藝 術有限公司,台北,2009,彩色圖版,頁 21-22


194

LIANG Ping-cheng (Taiwanese, b. 1958)

Golden Mask 705 2007 Camphor wood and gold foil 83(L) x 47(W) x 193(H) cm (base included) Signed Liang Ping-cheng in Chinese and dated 2007

NT$ 400,000-450,000 US$ 13,300-15,000 HK$ 98,000-110,000

梁平正 黃金面具 705 2007 樟木 金箔 83(長) x 47(寬) x 193(高) cm(含底座) 簽名:梁平正 2007

梁平正作品的靈感由自然直接通往雕塑藝術 本質中最純粹的美感,透過造型、內容、概 念、質變,超越由單一風格所限定下的概 念,而是自然的給雕塑開啟一扇未知的新面 向。

The outcroppings from the work’s surface are like the relief inscriptions on ancient Chinese coins. These repeatedly interlocking personal totems are imbued with the artist’s experience pursuing beauty.

梁平正的「黃金面具」系列,開啟了木雕的 新視界、顛覆傳統木雕對於形體上的描繪, 有別於西方雕塑的原型理論,以一種造型的 寫意及觀念轉換作為表達形式。梁平正作品 中的記號與圖騰都是在微觀下呈現有秩序的 排列,表面上的乳凸好似觸碰在春秋古銅幣 上的浮紋,反復交織的個人圖騰傳遞出藝術 家所追求的美感經驗。

“Golden Mask 705” is carved out of camphor wood with fine grains, a solid feel and light sheen on the surface. It is shaped like a Chinese-style stele. The careful carving and polishing brings out tender feelings from the feel of thickness and a dialogue with the wood. The work emphasizes expression through positive and negative spaces, creating a seemingly concrete form out of a woven mesh of illusion. The Golden Mask can be seen as an individual farewell to past times and a longing for the new era. Of course it can also be seen as an act of disguising inner truth. In terms of artistic expression, the Golden Mask encompasses a pursuit of history and culture as well as the construction of a new face for contemporary art.

《黃金面具705》是以樟木為材質,紋理細 膩、質地堅硬且具有光澤,造型狀似中國式 方型碑文柱狀體,透過穿鑿細琢傳遞手感的 厚度及與樟木對話的溫柔心情。作品上強調 「雙重視域」的正負空間表現方式,以一種 似是而非、似非而是交雜編織出看似具象; 又呈現出異相的變體,黃金面具,可以視為 個人對舊時間的告別、對新世代的渴望;也 能被看作是一種內心真實的偽裝,黃金面具 在藝術表現上同時兼具歷史與文化的追思與 當代藝術新面貌的建構。

The inspiration for Liang Ping-cheng’s artworks comes from the purest sense of beauty from nature directly into the essence of sculpture art. Through form, content, concepts and transformation, he transcends the limitations of a single style, naturally opening a new door to the unknown in sculpture. Liang Ping-cheng’s “Golden Mask Series” has opened a new field of vision for woodcarving, one that subverts the old traditions of the depiction of shapes and departs from western prototype theory, instead using formative freestyle and conceptual transformation to convey the dialogue within the work. On a microscopic level, the marks and totems in Liang’s works all show ordered arrangement.

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195

CHANG Keng-hau & (Taiwanese, b. 1980)

CHANG Geng-hwa (Taiwanese, b. 1980)

Jido 2007 Fiberglass, edition no. 3/8 29(L) x 24(W) x 55(H) cm Signed on the base Geng Hwa in Chinese and keng hau in English, dated 2007 and numbered 3/8 This sculpture is to be sold with a certificate of authenticity signed by the artists.

NT$ 160,000-220,000 US$ 5,300-7,300 HK$ 39,000-54,000

張耿豪 & 張耿華 筋斗雲 2007 玻璃纖維 3/8 29(長) x 24(寬) x 55(高) cm 簽名底部:耿華 keng hau 2007 3/8 附藝術家親筆簽名之原作保證書

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196

Hiroto KITAGAWA (Japanese, b. 1967)

Man - Gold Black 2006 Terracotta, acrylic 11(L) x 9(W) x 53(H) cm (figure) 38(L) x 38(W) x 2(H) cm (base) Signed Hiroto in English and dated 06 ILLUSTRATED: Hiroto Kitagawa 1989-2008, Tokyo Gallery+BTAP, Tokyo, 2008, color illustrated, p. 100

NT$ 220,000-350,000 US$ 7,300-11,700 HK$ 54,000-85,000

北川宏人 男人─金與黑 2006 陶土 壓克力 11(長) x 9(寬) x 53(高) cm(人物) 38(長) x 38(寬) x 2(高) cm(底座) 簽名:06 Hiroto 圖錄: 《北川宏人1989-2008》,東京畫廊 +BTAP,東京,2008,彩色圖版,頁100


197

Ai HAIBARA (Japanese, b. 1981)

Awakening 2010 Wooden sculpture 63(L) x 54(W) x 100(H) cm Signed on the base Ai Haibara in English and dated 2010

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

灰原愛 甦醒 2010 木雕 63(長) x 54(寬) x 100(高) cm 簽名底座:Ai Haibara 2010

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198

Hiroto KITAGAWA (Japanese, b. 1967)

Souta Usaki & Mimiko Usa (a set of 2) 2007 Terracotta, acrylic 11(L) x 8(W) x 46(H) cm (boy) 10(L) x 8(W) x 44(H) cm (girl) 38(L) x 38(W) x 2(H) cm (base) Signed Hiroto in English and dated 07 (both) ILLUSTRATED: Hiroto Kitagawa 1989-2008, Tokyo Gallery+BTAP, Tokyo, 2008, color illustrated, p. 102

NT$ 350,000-450,000 US$ 11,700-15,000 HK$ 85,000-110,000

北川宏人 右咲草太與宇佐美美子(2件1組) 2007 陶土 壓克力 11(長) x 8(寬) x 46(高) cm(男) 10(長) x 8(寬) x 44(高) cm(女) 38(長) x 38(寬) x 2(高) cm(底座) 簽名:07 Hiroto(2件) 圖錄: 《北川宏人1989-2008》,東京畫廊 +BTAP,東京,2008,彩色圖版,頁102


199

HUANG Ming-Chu (Taiwanese, b. 1980)

Ideal Residence 2010 Silver, dark iron, beech 20(L) x 20(W) x 14(H) cm (ball) 56.5(L) x 28(W) x 15(H) cm (base) Signed M.C in English and dated 2010

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

黃明珠 理想居所 2010 純銀 黑鐵 櫸木 20(長) x 20(寬) x 14(高) cm(球體) 56.5(長) x 28(寬) x 15(高) cm(底座) 簽名:M.C 2010

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家的建構、聯繫為概念出發,思考延伸自我 生存的意義。將心裡理想的空間視為規範, 逐一的添加建造,不刻意的元素建構出刻意 的理想,在平凡中見到最珍貴的夢想。 以「眾數」來貫穿作品的表現方式,藉由不 起眼的小元件,聚集成一個物體,像繪畫的 技巧般的,一筆一筆的勾勒出我的語言,一 點一滴記錄感動!個體不是物件,卻是物件 最核心的部分。當單元體獨立存在時,本身 不具意義性,唯有聚集才能訴說 事件的產 生,不單單只是一個聚合物,更重要的是 「聚」本身的行為,正是作品的宗旨。

The creation of a home starts with a concept, in which the creator seeks to make the home an extension of the meaning that they find in their own existence. The basic framework is created by the space provided by one’s own ideals; the elements of construction are then added to this one by one. There is no deliberate intent to have a particular element

of construction embody a particular ideal; rather, one seeks to realize precious dreams within the ordinary and the everyday. The concept that runs through the method of artistic expression employed in this work is that of the “mass.” A multitude of small elements, each of them insignificant in itself, are brought together to form a coherent whole, just as in painting a multitude of individual brushstrokes combine to create o n e ’s a r t i s t i c l e x i c o n , r e c o r d i n g o n e ’s emotional state one drop of paint at a time! An individual element is not an object, and yet it is the core part of the object. When individual elements exist independently, they have no particular significance in and of themselves; it is only when they are brought together that they can tell a story. This is more than just a “composition”; more importantly, it is an “assembly” of actions and behavior, which embody the underlying meaning of the work.


200

LI Chen

(Taiwanese, b. 1963)

Pure Land 1998 Bronze, edition no. 79/99 45(L) x 16(W) x 27(H) cm Engraved Li Chen in Chinese, numbered 79/99 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)

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 85,000-134,000

李真 無憂國土 1998 銅雕 79/99 45(長) x 16(寬) x 27(高) cm 簽名雕刻:李真 79/99 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)


201

PENG Kuan-jun (Taiwanese, b. 1961)

Stretch 2006 Bronze, marble, glass, edition no. 4/10 38(L) x 90(W) x 60(H) cm Signed Kuan-jun in Chinese, dated 2006 and numbered 4/10 This sculpture is to be sold with a certificate of authenticity issued by Pan Pan Art Gallery, Taipei.

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 98,000-146,000

彭光均 伸 2006 銅雕 大理石 玻璃 4/10 38(長) x 90(寬) x 60(高) cm 簽名:2006 光均 4/10 附彩田畫廊開立之原作保證書

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202

JAN Chin-shui (Taiwanese, b. 1953)

Glacial Waterfalls 2006 Mixed media on canvas 116 x 91 cm Signed lower right Jan Chin-shui in Chinese and dated 2006 Titled on the reverse Glacial Waterfalls in Chinese, inscribed 50F, signed Jan Chin-shui in Chinese and dated 2006

NT$ 180,000-300,000 US$ 6,000-10,000 HK$ 44,000-73,000

184

詹金水 冰谷流瀑 2006 綜合媒材 畫布 116 x 91 cm 簽名右下:詹金水 2006 簽名畫背:50F 冰谷流瀑 詹金水 2006年


203

LIAO Yu-an

(Taiwanese, b. 1979)

Kiss Mark No. 3 2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Liao Yu-an in Chinese and English, dated 2007.5

NT$ 220,000-350,000 US$ 7,300-11,700 HK$ 54,000-85,000

廖堉安 種草莓 No. 3 2007 壓克力 畫布 162 x 130 cm 簽名畫背:廖堉安 Liao Yu-an 2007.5


204

HOU Chun-ming (Taiwanese, b. 1963)

Man & Woman 1994 Woodcut print on paper, edition no. 3/15 150 x 57.5 cm (image) 186 x 90 cm (paper) Signed lower right Hou in Chinese, numbered 15-3, dated 1994 in Chinese and inscribed Fire Mountain Tiger Den in Chinese With two seals of the artist

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

侯俊明 男與女 1994 木刻版畫 紙本 3/15 150 x 57.5 cm(畫心) 186 x 90 cm(紙) 簽名下方:15-3 六腳侯氏 一九九四 火炎山虎穴 鈐印上方:六腳侯氏 鈐印右下:(肖形印)

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205

CAI Guo-Qiang (Chinese, b. 1957)

Golden Yuan Bills - Numinous Talismans 2005 Gunpowder, ink, golden yuan bills, mounted on paper 38 x 28 cm Signed lower left Cai Guo-Qiang in Chinese and Cai in English, dated 2005 Inscribed lower right KY Tsai in English

NT$ 350,000-450,000 US$ 11,700-15,000 HK$ 85,000-110,000

蔡國強 金圓券—招財平安符 2005 火藥爆破 水墨 金圓券 裱於宣紙 38 x 28 cm 簽名左下:蔡國強 Cai 2005 款識右下:KY Tsai


206

Dennis HWANG (Taiwanese, b. 1941)

Landscape 1991 Acrylic on canvas 118 x 84.5 cm Signed lower left Chih-chao in Chinese and Hwang in English, dated 91

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

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黃志超 人在江湖(一) 1991 壓克力 畫布 118 x 84.5 cm 簽名左下:志超 Hwang 91


207

XIA Junna

(Chinese, b. 1971)

Summer in Florence 2002 Oil on paper 54 x 39 cm Signed lower right XJN in English and dated 2002

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

夏俊娜 翡冷翠之夏 2002 油彩 紙本 54 x 39 cm 簽名右下:XJN 2002


208

XIA Junna

(Chinese, b. 1971) Slavic Fairy Tale 2002 Oil on paper 54 x 39 cm Signed upper right XJN in English and dated 2002

NT$ 260,000-350,000 US$ 8,700-11,700 HK$ 63,000-85,000

190

夏俊娜 斯拉夫童話 2002 油彩 紙本 54 x 39 cm 簽名右上:XJN 2002


209

CHUANG Che (Taiwanese, b. 1934)

Snow Country 1981 Acrylic on canvas 100 x 126 cm Signed lower right Chuang Che in Chinese and dated 81 Inscribed on the reverse 8138

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 98,000-146,000

莊喆 雪國 1981 壓克力 畫布 100 x 126 cm 簽名右下:莊喆 81 題識畫背:8138


210

Richard LIN

(Chinese-British, b. 1933)

林壽宇

Four

1968 油彩 鋁片 畫布 63.5 x 63.5 cm 簽名畫背:RICHARD LIN "Four" 1968 25" x 25" Alumin/oil/canvas Signed on Back

1968 Oil and aluminium on canvas 63.5 x 63.5 cm Signed on the reverse RICHARD LIN in English, titled Four in English, dated 1968, inscribed 25" x 25", Alumin / oil / canvas

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PROVENANCE: Galerie Semiha Huber, Zurich

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 122,000-171,000

來源: 夫柏畫廊,蘇黎世


211

CHUANG Che (Taiwanese, b. 1934)

Landscape 1974 Oil on canvas 88 x 118.5 cm Signed lower right Chuang Che in Chinese, dated 1974 Signed on the reverse Chuang Che in Chinese and English, titled Landscape 74-70 in English and dated 1974

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 122,000-171,000

莊喆 抽象風景 1974 油彩 畫布 88 x 118.5 cm 簽名右下:莊喆 1974 簽名畫背:莊喆 Landscape 74-70. Chuang Che 1974


212

LIEN Chien-hsing (Taiwanese, b. 1962)

Her Footprint in the Field 2004 Oil on canvas 89 x 130 cm Signed lower right Lien Chien-hsing in Chinese and dated 2004 Titled on the reverse Her Footprint in the Field in Chinese, dated 2004, signed Lien Chienhsing in Chinese and inscribed 60P ILLUSTRATED: Lien Chien-hsing, Eslite Gallery, Taipei, 2004, color illustrated, p. 14

NT$ 600,000-800,000 US$ 20,000-26,700 HK$ 146,000-195,000

連建興 田野芳蹤 2004 油彩 畫布 89 x 130 cm 簽名右下:2004 連建興 簽名畫背:田野芳蹤 2004 連建興 60P 圖錄: 《連建興》,誠品畫廊,台北,2004,彩色 圖版,頁14

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213

CHEN Chieh-jen (Taiwanese, b. 1960)

Military Court and Prison - Pushing People 2007-2008 Film still, digital color photograph; edition no. 7/7 80 x 150 cm EXHIBITED: (the Film) Military Court and Prison-Chen Chieh-jen, Museo Nacional Centro de Arte Reina Sofía, Madrid, March 4 - May 12, 2008 2008 Image Forum Festival, Tokyo, Japan, May 1 - 14, 2008 Tiefenrausch (Rapture of the Deep): Stream of Forgotten Memories, O.K Center for Contemporary Art, Linz, May 30 - July 13, 2008 Body Song, P.O.P Cinema, Taipei, Taiwan, September 5 - 26, 2008 Farewell to Post - Colonialism,The Third Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, September 6 - November 16, 2008 Corporeal / Technoreal, Mediations Biennale, Poznan, Polish, October 3 - 30, 2008 Kaohsiung Film Festival, Kaohsiung, Taiwan, October 24 - November 6, 2008 Home, National Taiwan Museum of Fine Arts, Taichung, Taiwan, November 1, 2008 February 8, 2009 Prospect.1, New Orleans Biennial, New Orleans, November 1, 2008 - January 18, 2009 Empire’s Borders I & Military Court and Prison, Main Trend Art Gallery, Taipei, November 21, 2009 - January 23, 2010 On the Empire’s Borders, Chen Chieh-jen 1996-2010, Taipei Fine Arts Museum, Taipei, August 28 - November 14, 2010 There Is Always A Cup of Sea To Sail In, 29th Bienal de São Paulo, Pavilhão Ciccillo Matarazzo, Parque do Ibirapuera, São Paulo, September 25 - December 12, 2010 ILLUSTRATED: Military Court and Prison-Chen Chieh-jen, Museo Nacional Centro de Arte Reina, Madrid, 2008, color illustrated

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 122,000-171,000

196

陳界仁 軍法局.推移者 2007-2008 電影劇照 數位彩色照片;版次7/7 80 x 150 cm 展覽:(影片展出) 「軍法局-陳界仁個展」,蘇菲雅皇后國立 美術館,馬德里,西班牙,展期2008年3月4 日至5月12日 「2008影像論壇影展」,東京,日本,展期 2008年5月1日至14日 「地下坎陷:遺忘的記憶之流」,O.K 當代 藝術中心,林茨,奧地利,展期2008年5月 30日至7月13日 「身體與靈魂影展」,國民戲院,台北,台 灣,展期2008年9月5日至9月26日 「第三屆廣州三年展:與後殖民說再見」, 廣州美術館,廣州,中國,展期2008年9月6 日至11月16日 「調解雙年展:身體/科技實體」,波茲 南,波蘭,展期2008年10月3日至10月30日 「高雄電影節」,高雄,台灣,2008年10月 24日至11月6日 「第一屆台灣美術雙年展:家」,國立台 灣美術館,台中,台灣,2008年11月1日至 2009年2月8日  「第一屆紐奧良雙年展:展望1」,紐奧 良,美國,2008年11月1日至2009年1月18日 「陳界仁個展:軍法局 & 帝國邊界 I」,大 趨勢畫廊,台北,台灣,2009年11月21日至 2010年1月23日  「在帝國的邊界上─1996-2010,陳界仁個 展」,台北市立美術館,台北,台灣,展期 2010年8月28日至11月14日 「第二十九屆聖保羅雙年展:杯海之旅,巴 西實驗電影院放映計劃」,馬塔拉佐館,伊 比拉布維拉公園,聖保羅,巴西,展期2010 年9月25日至12月12日 圖錄: 《軍法局-陳界仁個展》目錄,蘇菲雅皇后 國家美術館,馬德里,西班牙,2008,彩色 圖版


214

DU Xi

(Chinese, b. 1980)

Romance of the Three Kingdoms 2007 Oil on canvas 100 x 200 cm Signed lower right Du Xi in Chinese and dated 07

NT$ 300,000-400,000 US$ 10,000-13,300 HK$ 73,000-98,000

杜溪 刀馬記─長板坡 2007 油彩 畫布 100 x 200 cm 簽名右下:杜溪 07

198


215

CHEN Liu

(Chinese, b. 1973)

The Celestial Series - God of Eagle, God of Peacock (diptych) 2007 Oil on canvas 140 x 80 cm (x2) Signed lower right Chen Liu in Chinese and dated 2007.11 (left) Signed lower left Chen Liu in Chinese and dated 2007.11 (right) ILLUSTRATED: Chen Liu: The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 72-73

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 110,000-134,000

陳流 天空界之鷹王 天空界之孔雀王(雙聯幅) 2007 油彩 畫布 140 x 80 cm (x2) 簽名右下:陳流 2007.11(左) 簽名左下:陳流 2007.11(右) 圖錄: 《陳流:天降大任》,藏新藝術有限公 司,台北,2008,彩色圖版,頁72-73

200


216

MAO Tongqiang (Chinese, b. 1960)

Mirage No. 11 2006 Oil on canvas 175 x 150 cm Ti t l e d o n t h e r e v e r s e M i r a g e N o . 11 i n Chinese, signed MAO Tong Qiang in Chinese and English, dated 2006.9 and inscribed 150 x 175 cm

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 134,000-183,000

202

毛同強 海市蜃樓 No. 11 2006 油彩 畫布 175 x 150 cm 簽名畫背:《海市蜃樓》 No. 11 毛同強 MAO Tong Qiang 2006.9 150 x 175 cm


217

WANG Zhijie (Chinese, b. 1931)

Wild Yak in the Night Oil on masonite 40 x 100 cm Signed lower right Zhijie in Chinese Titled on the reverse Wild Yak in the Night in Chinese and signed Wang Zhijie in Chinese

NT$ 650,000﹣850,000 US$ 21,700-28,300 HK$ 159,000-207,000

汪志傑 荒夜犛影 油彩 纖維板 40 x 100 cm 簽名右下:志傑 簽名畫背:荒夜犛影 汪志傑


218

SHI Lei

(Chinese, b. 1980)

But Not Just Flowers No. 2 2006 Oil on canvas 150 x 100 cm Signed lower right Shi Lei in Chinese and dated 2006

NT$ 400,000-500,000 US$ 13,300-16,700 HK$ 98,000-122,000

石磊 花非花系列 No. 2 2006 油彩 畫布 150 x 100 cm 簽名右下:石磊 2006

204


219

YANG Din

(Chinese, b. 1958)

Fête de melon 1995 Oil on canvas 196 x 130 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, dated 1995.8 and 196 x 130 cm, and titled "Fête de melon" in French ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, pp. 58-59

NT$ 650,000﹣850,000 US$ 21,700-28,300 HK$ 159,000-207,000

楊登雄 瓜節 1995 油彩 畫布 196 x 130 cm 簽名右下:Yang Din 簽名畫背:Yang Din 1995.8 196 x 130 cm "Fête de melon" 圖錄: 《楊登雄》,季豐軒畫廊,香港, 2002,彩色圖版,頁58-59


220

Walasse TING

(Chinese-American, 1929-2010)

Three Women 1989 Acrylic on ricepaper 178 x 96 cm With one seal of the artist

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 134,000-183,000

丁雄泉 三美圖 1989 壓克力 紙本 178 x 96 cm 鈐印右上:採花大盜

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221

ZHAO Nengzhi (Chinese, b. 1968)

Expression No. 4

趙能智

2003 Oil on canvas 180 x 130 cm Signed lower right Zhao in Chinese and English, NENGZHI in English and dated 2003 Signed on the reverse Zhao Nengzhi in Chinese and dated 2003, titled No. 4 and inscribed 180 x 130 cm, oil on canvas

2003 油彩 畫布 180 x 130 cm 簽名右下:趙 Zhao NENGZHI 2003 簽名畫背:趙能智 2003 作品 No. 4 180 x 130 cm 布面油畫 2003

表情系列4

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

NT$ 650,000-850,000 US$ 21,700-28,300 HK$ 159,000-207,000

附亞洲藝術中心開立之原作保證書


222

ZHANG Xiaotao (Chinese, b. 1970)

Decayed Landscape 2006 Oil on linen 150 x 120 cm Titled on the reverse Decayed Landscape in Chinese, inscribed oil on linen, 150 x 120 cm, signed Zhang Xiaotao at 798 Artzone, Beijing in Chinese and dated 2006.1.21

NT$ 750,000-950,000 US$ 25,000-31,700 HK$ 183,000-232,000

208

張小濤 溪山清遠之五 2006 油彩 亞麻布 150 x 120 cm 簽名畫背:溪山清遠之五 亞麻 油彩 150 x 120 cm 張小濤 2006年1月21日 北京798廠


223

XIONG Yu

(Chinese, b. 1975)

Blowing in the Wind 2007 Oil on canvas 200 x 100 cm Signed lower right Xiong Yu in Chinese and dated 2007

NT$ 750,000-950,000 US$ 25,000-31,700 HK$ 183,000-232,000

熊宇 飛揚 2007 油彩 畫布 200 x 100 cm 簽名右下:熊宇 2007


224

LI Jisen

(Chinese, b. 1970)

李繼森

An Intellectual Battle ILLUSTRATED: Li Jisen - Great Ambition, Proeditor Culture Co., Ltd., Taipei, 2008, color illustrated, p. 91

2007 油彩 畫布 180 x 150 cm 簽名右下:李繼森 Li Jisen 2007.2 簽名畫背:《智鬥》 180 cm x 150 cm 2007.2. 李繼森

NT$ 550,000-650,000 US$ 18,300-21,700 HK$ 134,000-159,000

圖錄: 《李繼森—志在千里》,藏新藝術有限公 司,台北,2008,彩色圖版,頁91

2007 Oil on canvas 180 x 150 cm Signed lower right Li Jisen in Chinese and English, dated 2007.2 Titled on the reverse An Intellectual Battle in Chinese, inscribed 180 cm x 150 cm, dated 2007.2 and signed Li Jisen in Chinese

210

智鬥


225

HUANG Gang (Chinese, b. 1961)

Division 2002 Mixed media on panel 149 x 87.5 cm Signed lower right Huang Gang in Chinese and English, dated 2002

黃鋼 ILLUSTRATED: Huang Gang: Revolving Golden Imprint, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 110-111

NT$ 650,000-850,000 US$ 21,700-28,300 HK$ 159,000-207,000

兩地平分 2002 綜合媒材 木板 149 x 87.5 cm 簽名右下:Huang Gang 黃鋼 2002 圖錄: 《黃鋼─轉動黃金印記》,藏新藝術有限公 司,台北,2008,彩色圖版,頁110-111


葉子奇的作品,一直是他生活的日記與生命 的紀錄。不論是風景或靜物,他寫實而帶隱 喻的手法,具有一種變換自如的風格,充滿 了一種豐富又奇特的個人情懷和一種如謎樣 引人卻又具體存在的精神象徵。他擅於選擇 可見的景、物,再重塑出一般人所忽略的另 一番非凡而獨特的氣質,反射出他對生命理 想的追尋與精神。

226

Tzu-chi YEH

(Taiwanese, b. 1957)

Ginger Lily 2009-2010 Tempera and oil on linen 127 x 76.5 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2009-2010

NT$ 800,000﹣1,500,000 US$ 26,700-50,000 HK$ 195,000-366,000

葉子奇 野薑花 2009-2010 卵彩 油彩 亞麻布 127 x 76.5 cm 簽名右下:葉子奇 2009-2010

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「野薑花」是葉子奇對童年與愛情的標記。 他說「曾經,每個人的童年都有一條小河, 我的童年也有一條小河,而且,是一條開滿 野薑花的小河。它,是屬於我的家鄉花蓮玉 里的回憶。」這是葉子奇返回家鄉花蓮定居 四年以後的第二幅「野薑花」作品,也是 「野薑花」系列作品歷年來最大的一幅。

The works by Tzu-chi Yeh are records of his daily life. Whether in his landscape or still life paintings, his realistic and subtle approach is filled with rich and personal feelings. The subjects of his works are concrete in existence yet having a metaphoric meaning to the realism. He is good at selecting sceneries and objects, and captures them in a unique charming quality that most people have ignored, reflecting his pursuit of the ideal life and spirit. “Ginger Lily” is a mark of Yeh’s childhood and love. He said, “Once, everyone’s childhood had a brook, my childhood had one too. The brook was full of blossomed ginger lily. And it belongs to my hometown memories of Yuli, Hualien.” This lot is Yeh’s second piece of “Ginger Lily” painting, four years after his return and settling in Hualien. It is the largest piece among the “Ginger Lily” series that he has ever painted over the years.


227

ZHOU Chunya (Chinese, b. 1955)

Porcelain Vase 1998 Oil on canvas 72 x 60 cm Signed lower right ZHOU CHUNYA in Chinese and English, dated 1998 This painting is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Coporation, Taipei.

NT$ 1,200,000-2,400,000 US$ 40,000-80,000 HK$ 293,000-585,000

周春芽 瓷瓶 1998 油彩 畫布 72 x 60 cm 簽名右下:1998 周春芽 ZHOU CHUNYA 附北莊文化藝術中心開立之原作保證書

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228

ZHOU Chunya (Chinese, b. 1955)

Roses 2000 Oil on canvas 73 x 60 cm Signed lower right ZHOU Chunya in Chinese and English, dated 2000 Signed on the reverse Zhou Chunya in Chinese and dated 2000.5.9

NT$ 1,000,000-2,200,000 US$ 33,300-73,300 HK$ 244,000-537,000

周春芽 玫瑰花 2000 油彩 畫布 73 x 60 cm 簽名右下:2000 周春芽 ZHOU Chunya 簽名畫背:周春芽 2000年 5.9 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。此幅《花》的作品,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,充分展示率性、 粗獷的表現主義風格。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

216

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的溫和內斂。

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 "Flower", 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".


229

Qiu Jiongjiong (Chinese, b. 1977)

Cool Kid Series (a set of 6) 2009-2010 Oil and pastel on canvas 80 x 80 cm (x6) Titled on the reverse Cool Kid in Chinese, inscribed oil and pastel on canvas, 80 cm x 80 cm, signed Qiu Jiongjiong in Chinese and dated 2009-2010 (signed on each piece and numbered respectively)

NT$ 1,200,000-2,000,000 US$ 40,000-66,700 HK$ 293,000-488,000

邱炯炯 屌童(6件1組) 2009-2010 油彩 粉彩 畫布 80 x 80 cm (x6) 簽名畫背:屌童 布面油彩+油畫棒 80 cm x 80 cm 邱炯炯 2009-2010 (每件簽名並依序標號1-6)

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230

CHEN Ke

(Chinese, b. 1978)

XX to Keep as a Souvenir 2008 Oil, thread beads and acrylic on linen 160 x 160 cm Signed lower right Ke in Chinese and dated 08 Titled on the reverse XX to Keep as a Souvenir in Chinese and English, inscribed 160 x 160 cm, Oil color, thread beads and arcylic medium on linen in Chinese and English, signed Chen Ke in Chinese and English, dated 2008

NT$ 1,800,000-2,800,000 US$ 60,000-93,300 HK$ 439,000-683,000

陳可 XX留念 2008 油彩 線 珠子 壓克力 亞麻布 160 x 160 cm 簽名右下:可 08 簽名畫背:X X留念 160 x 160 c m 油畫顏 料 線 珠子 丙烯媒劑 亞麻布, XX to Keep as a Souvenir, Oil color, thread beads and acrylic medium on linen 陳可 Chen Ke 2008

220


231

WEI Jia

(Chinese, b. 1975)

Say Goodbye IV 2007 Acrylic on canvas 220 x 180 cm Titled on the reverse say goodbye IV in English, inscribed 220 x 180 cm, acrylic on canvas in Chinese, signed Wei Jia in Chinese and dated 07

NT$ 1,700,000-2,400,000 US$ 56,700-80,000 HK$ 415,000-585,000

韋嘉 說再見 4 2007 壓克力 畫布 220 x 180 cm 簽名畫背:《say goodbye IV》220 x 180 cm 布面丙烯 韋嘉 07

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232

ZHOU Chunya (Chinese, b. 1955)

Head Portrait of a Man in Mulberry (Self-Portrait) 1993 Oil on canvas 73 x 61 cm Signed lower right Zhou Chunya in Chinese and dated 1993 Titled on the reverse Head Portrait of a Man in Mulberry in Chinese, dated 1993, inscribed oil on canvas and signed Zhou Chunya in Chinese

NT$ 2,000,000-3,000,000 US$ 66,700-100,000 HK$ 488,000-732,000

224

周春芽 紫紅色的男人頭像(自畫像) 1993 油彩 畫布 73 x 61 cm 簽名右下:1993 周春芽 簽名畫背:《紫紅色的男人頭像》1993 布面油畫 周春芽


2010年6月周春芽上海美術館回顧展一隅 A view of Zhou Chunya's retrospective at Shanghai Art Museum, June 2010

233

ZHOU Chunya (Chinese, b. 1955)

The Stone and a Naked Woman 1992 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1992

石頭是中國歷代文人墨客經久不衰的表現題 材。石頭的體積及其表面的紋脈肌理,為藝 術家提供了一個表現的機會。它圓滑的輪廓 所形成含蓄而不失堅硬的人工擺設的感覺, 使藝術家可以不加修飾地形成一個完整的形 象。

The mass of stone and the textural lines on its surface provide artists with an opportunity for expression. Its plump contours create a reserved yet solid, artificially laid out feel, so that the artist can form a complete image without adornment.

1992 油彩 畫布 100 x 80 cm 簽名右下:1992 周春芽

本幅作品的色調為赭黃色,作品下半部猶如 烏雲密佈的大塊面處理,給人以極其壓抑的 心理感覺。中間的女子通體被施以了鮮豔的 綠色,突兀恣肆。整幅作品充滿了變化和層 次感。女子裸露的身體被剝去了社會所強加 的各種掩飾,赤裸裸地表現出了人性最為本 質的東西。綠色是種危險的信號,就如同火 山爆發前的片刻寂靜和僵持。畫面上,看似 平靜的柔美外表卻無法掩蓋住人物內心的極 度恐懼和彷徨。這幅作品張揚地表現了現代 人內心自我的迷失和被吞 噬的自然靈性。

圖錄: 《周春芽》,東八時區,香港,2010年5 月,彩色圖版,頁148-149

Stone has been an enduring subject for China’s literati painters throughout history.

This work is rendered in ochre tones. The large blocky rendering of the lower section, resembling dark storm clouds, creates feelings of inhibition. The female body incorporated in the center is rendered in bright green, creating a forceful contrast. The entire work is full of dynamism and deep layers. The nude woman’s body has been stripped of all social markers, laying bare the essence of human nature. Green is a signal for danger, like the calm before a volcanic eruption. In the image, the gentle beauty on the surface is unable to conceal the extreme terror and hesitation of the figure. This work expresses the modern sense of the loss of self, and the burying of the natural spirit.

ILLUSTRATED: Zhou Chunya, Timezone 8, Hong Kong, May 2010, color illustrated, pp. 148-149

NT$ 3,500,000-4,600,000 US$ 116,700-153,300 HK$ 854,000-1,122,000

周春芽 石頭與裸女

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234

YANG Din

(Chinese, b. 1958)

Lotus (diptych) c. 1991 Oil on canvas 222 x 253 cm Signed lower right Yang Din in French

NT$ 1,600,000-2,800,000 US$ 53,300-93,300 HK$ 390,000-683,000

楊登雄 荷(雙聯幅) 約1991 油彩 畫布 222 x 253 cm 簽名右下:Yang Din

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235

OUYANG Chun (Chinese, b. 1974)

Painter 2007 Oil on canvas 140 x 196 cm Signed upper left Ouyang Chun in Chinese and dated 2007

NT$ 1,000,000-2,000,000 US$ 33,300-66,700 HK$ 244,000-488,000

歐陽春 畫家 2007 油彩 畫布 140 x 196 cm 簽名左上:歐陽春 2007年

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236

HUANG Gang (Chinese, b. 1961)

Chairman Mao (a set of 3) 2007 Bronze, edition no. 1/10 50(L) x 30(W) x 110(H) cm (x3) Signed on the base Huang Gang in Chinese and English, numbered 1/10 (red) Engraved Huang Gang in Chinese and English, numbered 1/10 (both / black)

NT$ 800,000-1,000,000 US$ 26,700-33,300 HK$ 195,000-244,000

232

黃鋼 毛澤東(3件1組) 2007 銅雕 1/10 50(長) x 30(寬) x 110(高) cm (x3) 簽名台座:B組 1/10 3個一組之第3號 Huang Gang 黃鋼(紅色) 簽名雕刻:B組 1/10 Huang Gang 黃鋼(2件 黑色)


237

YANG Mao-lin (Taiwanese, b. 1953)

Contemplative Peter Pan Bodhisattva Rides on Mantid 2007 Stainless steel with gold foil, edition no. 2/6 112(L) x 50(W) x 71(H) cm Engraved Yang Mao-lin in Chinese, dated '07 and numbered 2/6

NT$ 700,000-900,000 US$ 23,300-30,000 HK$ 171,000-220,000

楊茂林 騎大螳螂的思維飛俠小菩薩 2007 不鏽鋼 金箔 2/6 112(長) x 50(寬) x 71(高) cm 簽名雕刻:楊茂林 '07 2/6


238

YANG Mao-lin (Taiwanese, b. 1953)

Lucky Bat Vidyaraja 2005 Bronze with gold foil, edition no. 2/6 43(L) x 32(W) x 115.5(H) cm Engraved Yang Mao-lin in Chinese, dated '05 and numbered 2/6 EXHIBITED: Canonization of the Gods - The Pure Land of Maha, Lin & Keng Gallery, Taipei, May 13-30, 2006 ILLUSTRATED: Canonization of the Gods - The Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated, p. 29

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 110,000-159,000

楊茂林 福祿蝙蝠明王 2005 銅雕 金箔 2/6 43(長) x 32(寬) x 115.5(高) cm 簽名雕刻:'05 2/6 楊茂林 展覽: 「楊茂林個展─封神之前戲─摩柯極樂世 界」,大未來畫廊,台北,展期自2006年5 月13日至30日 圖錄: 《封神演義.摩柯.極樂世界》,大未來畫 廊,台北,2006,彩色圖版,頁29

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239

SHI Lei

(Chinese, b. 1980)

Reincarnation - Tiger 2007 Bronze, edition no. 1/8 110(L) x 30(W) x 55(H) cm Engraved Shi Lei in Chinese, dated 2007 and numbered 1/8 ILLUSTRATED: Shi Lei, Kwai Fung Art Publishing House, Hong Kong, 2007, color illustrated, p. 104

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 98,000-146,000

石磊 小投胎—虎 2007 銅雕 1/8 110(長) x 30(寬) x 55(高) cm 簽名雕刻:1/8 石磊 2007 圖錄: 《石磊》,季豐美術出版社,香港,2007, 彩色圖版,頁104


240

Walasse TING

(Chinese-American, 1929-2010)

Four Birds 1989 Acrylic on ricepaper 20 x 28 cm With one seal of the artist

NT$ 70,000-120,000 US$ 2,300-4,000 HK$ 17,000-29,000

236

丁雄泉 成雙成對 1989 壓克力 紙本 20 x 28 cm 鈐印右下:採花大盜


241

Naritaka SATOH (Japanese, b. 1980)

佐藤誠高

Baby in Lykiness of a Rabbit 2 2008 Pencil, charcoal and acrylic on paper, mounted onto panel 97 x 122.5 cm Titled on the reverse Baby in Lykiness of a Child 2 in English, dated 2008 and signed Naritaka Satoh in English

This painting is to be sold with a certificate of authenticity issued by Art Project Frantic, Tokyo.

NT$ 90,000-180,000 US$ 3,000-6,000 HK$ 22,000-44,000

扮兔子的嬰兒 2 2008 鉛筆 炭筆 壓克力 紙 裱於木板 97 x 122.5 cm 簽名畫背:Baby in Lykiness of a Child 2 2008 Naritaka Satoh 附東京Art Project Frantic開立之原作保證書


242

Walasse TING

(Chinese-American, 1929-2010)

Girl with Flower 1989 Acrylic on ricepaper 31 x 22 cm With one seal of the artist

NT$ 90,000-160,000 US$ 3,000-5,300 HK$ 22,000-39,000

丁雄泉 戴花女孩 1989 壓克力 紙本 31 x 22 cm 鈐印左上:採花大盜

238


243

TSONG Pu

(Chinese, b. 1947)

Composition with Red, Green and Blue 1990-1992 Oil on canvas 130 x 97 cm Titled on the reverse Composition with Red, Green and Blue in Chinese, signed Tsong Pu in Chinese and dated 1990-1992

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

莊普 紅綠藍之爭的一次記錄 1990-1992 油彩 畫布 130 x 97 cm 簽名畫背:1990-1992 莊普 紅綠藍之爭的一次記錄


244

HAN Young Wook (Korean, b. 1963)

Gandhi 2009 Oil on aluminum scratch 106 x 138 cm Signed lower right Y. Wook in English and dated 2009

NT$ 350,000-450,000 US$ 11,700-15,000 HK$ 85,000-110,000

240

韓永旭 甘地 2009 油彩 鋁板 填色刮畫 106 x 138 cm 簽名右下:Y. Wook 2009


245

SU Shengqian (Chinese, b. 1969)

Clue on Buddhist 2006 Oil on canvas 160 x 140 cm Signed lower right Su Shengqian in Chinese and dated 2006.10

NT$ 350,000-450,000 US$ 11,700-15,000 HK$ 85,000-110,000

蘇勝前 禪的提示 2006 油彩 畫布 160 x 140 cm 簽名右下:蘇勝前 2006.10


246

Toru ISHII

(Japanese, b. 1981)

Shukkin Gasen (Workplace as War Zone) 2007 Silk and yu-zen dyeing on board 73 x 130 cm Titled on the reverse SHUKKIN GASEN in English, dated 2007 and signed Toru Ishii in Japanese

242

石井亨 This painting is to be sold with a certificate of authenticity issued by Hikaru Morioka Gallery, Tokyo.

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

職場如戰場 2007 絹 友禪染 木板 73 x 130 cm 簽名畫背:「SHUKKIN GASEN」 2007 とおる いしい 附東京森岡光畫廊開立之原作保證書


247

Masanori MURAO (Japanese, b. 1974)

The Monster 2008 Oil on canvas 91 x 65 cm Titled on the reverse THE MONSTER in English, dated 2008 and signed Masanori Murao in Japanese

NT$ 100,000-200,000 US$ 3,300-6,700 HK$ 24,000-49,000

村尾成律 怪物 2008 油彩 畫布 91 x 65 cm 簽名畫背:THE MONSTER 2008 ムラ オマサノリ


248

Ayako ROKKAKU (Japanese, b. 1982)

Little Girl Walking 2008 Acrylic on canvas 200 x 220 cm Signed lower right Ayako Rokkaku in Japanese and dated 2008

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 110,000-159,000

244

六角彩子 女孩漫步 2008 壓克力 畫布 200 x 220 cm 簽名右下:2008 ロッカクアヤコ


249

KWON Ki Soo (Korean, b. 1972)

Blue Forest 2008 Acrylic on canvas 162 x 130 cm Signed on the reverse Kwon Ki Soo in Han characters and English, dated 2008

NT$ 550,000-750,000 US$ 18,300-25,000 HK$ 134,000-183,000

權奇秀 藍色森林 2008 壓克力 畫布 162 x 130 cm 簽名畫背:權奇秀 KWON Ki Soo 2008


250

Yoshitaka AMANO (Japanese, b. 1952)

Candy Girl S-8 2008 Automotive paint on aluminum panel 50(L) x 50(W) x 10(H) cm Signed on side Y. Amano in English

NT$ 500,000-700,000 US$ 16,700-23,300 HK$ 122,000-171,000

246

天野喜孝 甜心女孩 S-8 2008 汽車漆 鋁板 50(長) x 50(寬) x 10(高) cm 簽名側面:Y. Amano


251

KWON Ki Soo (Korean, b. 1972)

Red River 2007-2008 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Han character and English, dated 2007-2008

NT$ 600,000-800,000 US$ 20,000-26,700 HK$ 146,000-195,000

權奇秀 紅河 2007-2008 壓克力 畫布 130 x 130 cm 簽名畫背:權奇秀 Kwon Ki Soo 2007-2008


252

Yayoi KUSAMA (Japanese, b. 1929)

Cosmic Light 1988 Acrylic on canvas 32 x 41 cm Titled on the reverse Cosmic Light in Japanese, signed Yayoi Kusama in English and dated 1988

NT$ 700,000-1,000,000 US$ 23,300-33,300 HK$ 171,000-244,000

草間彌生 宇宙之光 1988 壓克力 畫布 32 x 41 cm 簽名畫背:Yayoi Kusama 1988 宇宙の光

248


253

Hiroyuki MATSUURA (Japanese, b. 1964)

Windy Bunny Baby – Yellow 2008 Acrylic on canvas with hologram film 116.5 x 116.5 cm Signed on the reverse Hiroyuki Matsuura in Englsih and dated 2008.10.15 EXHIBITED: Acrylic Skin / Existence - Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, December 13, 2008 January 4, 2009

NT$ 1,200,000-2,200,000 US$ 40,000-73,300 HK$ 293,000-537,000

松浦浩之 風中的兔寶寶:黃色 2008 壓克力 薄亮片 畫布 116.5 x 116.5 cm 簽名畫背:Hiroyuki Matsuura 2008.10.15 展覽: 「松浦浩之個展」,誠品畫廊,台北,展期2008年12 月13日至2009年1日4日

250


254

Mayuka YAMAMOTO (Japanese, b. 1964)

Pink Bear 2007 Oil on canvas 162 x 112 cm Titled on the reverse pink bear in English, signed Mayuka in English and dated 2007

NT$ 650,000-850,000 US$ 21,700-28,300 HK$ 159,000-207,000

山本麻友香 粉紅色的熊 2007 油彩 畫布 162 x 112 cm 簽名畫背:pink bear Mayuka 2007

252


255

YOON Jongseok (Korean, b. 1970)

尹鍾錫

Net Hanging Down the Concealed Inside - Heart Pattern, Gun

EXHIBITED: Female Sensibility, Gallery Artside, Seoul, May 30 Jun 20, 2008

2008 壓克力 畫布 162 x 227 cm 簽名右方:YOON 簽名側邊:Yoon Jongseok 2008

NT$ 700,000-1,200,000 US$ 23,300-40,000 HK$ 171,000-293,000

展覽: 「女性感性」,阿特塞帝畫廊,首爾,展期 自2008年5月30日至6月20日

2008 Acrylic on canvas 162 x 227 cm Signed center right YOON in English Signed on side Yoon Jongseok in English and dated 2008

隱藏在內心的垂網─槍


256

KANG Yujin (Korean, b. 1977)

Slippery Scape (diptych) 2004 Enamel and acrylic on canvas 162 x 260 cm Signed on the reverse Yu Jin K in English and dated 2004 (left) Signed on the reverse Yu Jin K in English and dated 2004 (right) EXHIBITED: Color Field: Group Exhibition of Jun Sang Ok, Kang Yujin and Lee Gil Woo, Gallery J. Chen, Taipei, November 9 - December 2, 2007

NT$ 700,000-900,000 US$ 23,300-30,000 HK$ 171,000-220,000

姜流真 濕潤的街景(雙聯幅) 2004 琺瑯彩 壓克力 畫布 162 x 260 cm 簽名畫背:Yu Jin K 2004 L(左) Yu Jin K 2004 R(右) 展覽: 「色域─金相玉、姜流真、李吉雨聯展」, J Chen畫廊,台北,展期自2007年11月9日至 12月2日

254


257

WEI Qimei

(Chinese, b. 1923)

Landscape 1985 Oil on canvas 30 x 40 cm Signed lower left Qimei in Chinese and dated 1985

NT$ 140,000-240,000 US$ 4,700-8,000 HK$ 34,000-59,000

256

韋啟美 風景 1985 油彩 畫布 30 x 40 cm 簽名左下:啟美 1985


258

ZHANG Zhenggang (Chinese, b. 1953)

In the Afternoon 1993 Oil on canvas 114 x 146 cm Signed lower left Zhenggang in Chinese and dated 1993

NT$ 650,000-850,000 US$ 21,700-28,300 HK$ 159,000-207,000

張正剛 午後 1993 油彩 畫布 114 x 146 cm 簽名左下:正剛 1993


259

MA Pai-sui

(Taiwanese, 1909-2003)

Taroko National Park 1985 Ink and color on paper 44 x 59 cm Signed lower left Pai-sui in Chinese and dated 1985 With one seal of the artist

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

258

馬白水 太魯閣 1985 彩墨 紙本 44 x 59 cm 簽名左下:白水 1985 鈐印左下:MA PAI SUI


260

YANG Chi-tung (Taiwanese, 1906-2003)

Streetscape 1973 Oil on canvas 72.5 x 91 cm Signed lower right Tung in Chinese and dated 73

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 110,000-134,000

楊啟東 街景 1973 油彩 畫布 72.5 x 91 cm 簽名右下:東 73


261

GUAN Zilan

(Voilet KWAN) (Chinese, 1903-1986)

Seaview 1932 Oil on canvas 31.5 x 43 cm Signed lower right Zilan and dated 1932 in Chinese

260

關紫蘭 PROVENANCE: Chongyuan Auctions, Shanghai, October 23, 2002, lot 1539

NT$ 400,000-600,000 US$ 13,300-20,000 HK$ 98,000-146,000

海景 1932 油彩 畫布 31.5 x 43 cm 簽名右下:紫蘭 一九三二 來源: 上海崇源拍賣,2002年10月23日,編號1539


262

YANG Chi-tung (Taiwanese, 1906-2003)

Streetscape 1966 Watercolor on paper 110 x 80 cm Signed lower left Chi-tung in Chinese and dated 1966.9.11

NT$ 400,000-500,000 US$ 13,300-16,700 HK$ 98,000-122,000

楊啟東 街景 1966 水彩 紙本 110 x 80 cm 簽名左下:啟東 1966.9.11


263

WANG Yi Guang (Chinese, b. 1962)

Soaring Flower 2009 Oil on canvas 150 x 95 cm Signed lower left Wang yi guang in Chinese and English, dated 2009 Titled on the reverse Soaring Flower in Chinese, inscribed 150 x 95 cm, signed Wang yi guang in English and Chinese, and dated 2009 in Beijing in Chinese PROVENANCE: Schoeni Art Gallery, Hong Kong

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 110,000-134,000

王沂光 飛花 2009 油彩 畫布 150 x 95 cm 簽名左下:王沂光 2009 Wang yi guang 簽名畫背:《飛花》150 x 95 cm Wang yi guang 王沂光 2009年于北京 來源: 少勵畫廊,香港

262


264

LIN Hairong (Chinese, b. 1975)

Qi Gong 2006 Oil on canvas 140 x 120 cm Titled on the reverse Qi Gong in Chinese, signed Lin Hairong in Chinese and dated 2006.9 PROVENANCE: ChinaToday Gallery, Brussels Private collection, Europe

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 110,000-134,000

林海容 練氣功 2006 油彩 畫布 140 x 120 cm 簽名畫背:《練氣功》林海容 2006年9月 來源: 今日中國畫廊,布魯塞爾 私人收藏,歐洲


265

KIM Ji Min (Korean, b. 1975)

The Mickey Bomb 2008 Mixed media and lables 20(L) x 60(W) x 60(H) cm Inscribed on the base THE MICKEY BOMB in English and dated 2008

NT$ 100,000-200,000 US$ 3,300-6,700 HK$ 24,000-49,000

264

金志旻 米老鼠炸彈 2008 綜合媒材 標籤 20(長) x 60(寬) x 60(高) cm 題識底座:THE MICKEY BOMB 2008


266

HSIAO Yi

(Taiwanese, 1956-2006)

Dharma 1987 Wooden sculpture 15(L) x 15(W) x 31(H) cm Engraved Hsiao Yi in Chinese and dated 87

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

蕭一 達摩 1987 木雕 15(長) x 15(寬) x 31(高) cm 簽名雕刻:蕭一 87


267

JIAO Xingtao

焦興濤 綠箭

(Chinese, b. 1970)

Green Arrow 2004 Painted fiberglass, edition no. 2/10 22(L) x 20(W) x 21(H) cm Signed Jiao Xingtao in Chinese, dated 2004 and numbered 2/10

266

ILLUSTRATED: Matter Morphosis by Jiao Xingtao, Art Seasons Gallery, Beijing, 2007, color illustrated, pp. 66-67

2004 玻璃纖維 漆 2/10 22(長) x 20(寬) x 21(高) cm 簽名底部:焦興濤 2004 2/10

NT$ 160,000-260,000 US$ 5,300-8,700 HK$ 39,000-63,000

圖錄: 《物語:焦興濤雕塑作品集》,季節畫廊, 北京,2007,彩色圖版,頁66-67


268

LU Hsien-ming (Taiwanese, b. 1959)

Iron Ox with Golden Horns 2008 Fiberglass, screw (unique) 53(L) x 45(W) x 60(H) cm Signed Lu Hsien-ming in Chinese and dated 2008.12.8

NT$ 180,000-260,000 US$ 6,000-8,700 HK$ 44,000-63,000

陸先銘 金角鐵牛 2008 玻璃纖維 螺絲(單一件) 53(長) x 45(寬) x 60(高) cm 簽名:陸先銘 2008.12.8


269

Chang-Ling

(Taiwanese, b. 1975)

Shout from Asia 2008 Bronze, edition no. 3/12 25(L) x 25(W) x 54(H) cm S i g n e d C L i n E n g l i s h, d a t e d 2 0 0 8 a n d numbered 3/12 This sculpture is to be sold with a certificate of authenticity issued by Impression Gallery, Taipei.

NT$ 120,000-220,000 US$ 4,000-7,300 HK$ 29,000-54,000

常陵 黃孩子的吶喊 2008 銅雕 3/12 25(長) x 25(寬) x 54(高) cm 簽名:CL 2008 3/12 附印象畫廊開立之原作保證書

268


270

HUANG Po-ren (Taiwanese, b. 1970)

Big Ears 2007 Bronze, edition no. 3/12 50(L) x 39(W) x 70.5(H) cm Signed on the base PR in English, dated 2007 and numbered 12-3

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 85,000-134,000

黃柏仁 大耳朵 2007 銅雕 3/12 50(長) x 39(寬) x 70.5(高) cm 簽名尾巴:2007 PR 簽名底座:2007 PR 12-3


271

JU Ming

(Taiwanese, b. 1938)

Soaring Dragon 2000 Bronze, edition no. 5/20 48(L) x 22(W) x 38(H) cm Engraved Ju Ming in Chinese, numbered 5/20 and dated 2000 This sculpture is to be sold with certificate of authenticity signed by the artist.

NT$ 350,000-550,000 US$ 11,700-18,300 HK$ 85,000-134,000

朱銘 龍觀天下 2000 銅雕 5/20 48(長) x 22(寬) x 38(高) cm 簽名雕刻:朱銘 5/20 2000 附藝術家簽名之原作保證書

270


272

Yuyu YANG

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

Tower of Dreams 1972 Bronze, edition no. 9/30 23(L) x 15(W) x 93(H) cm Engraved Ying-feng in Chinese, dated '72 and inscribed Taipei in Chinese ILLUSTRATED: Yuyu Yang, Taipei Fine Arts Museum, Taipei, 2005, color illustrated, p. 92 This sculpture is to be sold with certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 450,000-650,000 US$ 15,000-21,700 HK$ 110,000-159,000

楊英風 夢之塔 1972 銅雕 9/30 23(長) x 15(寬) x 93(高) cm 簽名雕刻:英風 '72 台北 圖錄: 《楊英風》,台北市立美術館,2005年,彩 色圖版,頁92 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


273

LIU Jia

(Chinese, b. 1982)

Home Series - Dream 2006 Fiberglass, edition no. 1/6 143(L) x 46(W) x 44.5(H) cm Signed Liu Jia in English and Chinese, numbered 1/6 and dated 2006 EXHIBITED: The Revelling Waves, Shanghai Duolun Museum of Modern Art, Shanghai, September 29 - October 9, 2007 ILLUSTRATED: The Revelling Waves, Author Gallery, Shanghai, 2007, color illustrated, p. 134

NT$ 350,000-450,000 US$ 11,700-15,000 HK$ 85,000-110,000

劉佳 家居系列─夢 2006 玻璃纖維 1/6 143(長) x 46(寬) x 44.5(高) cm 簽名底部:Liu Jia 劉佳 1/6 2006

展覽: 「戲浪-當代藝術邀請展」,上海多倫現代 美術館,上海 ,展期2007年9月29日至10月 9日 圖錄: 《戲浪》,奧賽畫廊,上海,2007,彩色圖 版,頁134

272


274

LI Kuang-yu

(Taiwanese, b. 1954)

Concealment 1999 Bronze, edition no. 1/6 50(L) x 32(W) x 93(H) cm Engraved on the base Kuang-yu in Chinese and numbered 1/6

NT$ 450,000-550,000 US$ 15,000-18,300 HK$ 110,000-134,000

李光裕 藏 1999 銅雕 1/6 50(長) x 32(寬) x 93(高) cm 簽名雕刻底座:光裕 1/6


275

HUNG Yi

(Taiwanese, b. 1970)

Papercutting Bird 2010 Baked enamel on steel plate, edition no. 8/9 60(L) x 40(W) x 150(H) cm Signed Hung Yi in Chinese, dated 2010 and numbered 8/9 This sculpture is to be sold with a certificate of authenticity issued by River Art, Taichung.

NT$ 400,000-500,000 US$ 13,300-16,700 HK$ 98,000-122,000

洪易 剪紙鳥 2010 鋼板烤漆 8/9 60(長) x 40(寬) x 150(高) cm 簽名:洪易 2010 8/9 附大河美術開立之原作保證書

274


276

Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 231/300 36(L) x 26(W) x 24(H) cm (box) 15(L) x 19(W) x 28(H) cm (sculpture) This sculpture is to be sold with a certificate of authenticity and a wooden box.

NT$ 300,000-400,000 US$ 10,000-13,300 HK$ 73,000-98,000

奈良美智 失眠夜坐著 2007 玻璃纖維 231/300 36(長) x 26(寬) x 24(高) cm(箱子) 15(長) x 19(寬) x 28(高) cm(人物) 附原作保證書與木盒


Lot 101

Lots 102, 103, 105, 226

Lots 104, 166

Sam YU (Taiwanese, b. 1960)

Tzu-chi YEH (Taiwanese, b. 1957)

PANG Jiun (Chinese, b. 1936)

Born in Taipei, in 1960. Yu graduated from Fine Arts Department of National Taiwan Normal University in 1991. In 1994, he acquired advanced western painting studies in the graduate school of National Taiwan Normal University. Yu joined the Salon de Mai Group after graduation. He had participated in Art Exhibition of Taiwan Province and National Art Exhibition. He joined the exhibition of Taiwan Fine Art Teacher in 2009, and Taiwan Younger Artist Exhibition in Paris in 2003.

Native of Meixian, Guangdong, Tzu-chi Yeh was born 1957 in Yuli, Hualien county, Taiwan. He 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 in the Institute of Fine Arts, City University of New York, Brooklyn, USA in 1989. After living in New York for nineteen years, he returned to settle in Hualien in 2006. Works have been participated in varies solo and group exhibitions at home and abroad, including the 1980 Asian Youth Art Exhibition held in Hong Kong, the Taipei American Cultural Center and the Westbeth Gallery in NY in 1987 and 1989 respectively. He was invited by the NY Choice Art Gallery to attend the joint exhibition named “The Day of Death” in 1989 and 1990. His recent solo exhibitions include the 2004 “Monologue – the Near and Far Away from Home” Eslite Gallery; 2007 “Through the Landscape of the Mind” Eslite Gallery; 2009 “Landscape Taiwan” Eslite Gallery. Yeh’s still life subjects from the “Soliloquy” series to the “Landscape Taiwan” series are the records of his inner feelings, realistic with symbolic metaphors, paintings are filled with personal touch, strong and unique in style.

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.

俞慎固 (台灣,1960年生)

葉子奇 (台灣,1957年生)

龐均 (中國,1936年生)

1960年生於台北。1991年台灣師大美術系畢業,1994年 進入師大西畫創作研究所深造。畢業後加入「五月畫 會」。作品曾入選全省美展及全國美展。2009年參加全 國中小學教育家聯展,2003年參加巴黎台灣青年畫展。

祖籍廣東梅縣,1957年生於台灣花蓮縣玉里鎮。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藝 術創作碩士。旅居紐約十九年,2006年返回花蓮定居。 作品多次參加國內外個展及聯展,包括1980年參加香港 舉行的亞洲青年畫展、1987年台北美國文化中心及1989 年紐約衛斯貝斯畫廊個展、1989與1990年均獲邀參加紐 約「抉擇美術館」之「死亡之日」邀請展。近期主要 個展:2004 年「獨白─離鄉之遠近」(誠品畫廊);2007 年「走過風景的心情」(誠品畫廊);2009年「風景�台 灣」(誠品畫廊)。葉子奇作品從靜物主題的「獨白」系 列至「風景�台灣」,都是他心情的記錄,寫實而帶有 隱喻的象徵,充滿了一種豐富的個人情懷,風格強烈而 獨特。

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。

276


Lot 108

Lot 106

Lots 107, 123, 138

HWANG Jyi (Taiwanese, b. 1953)

John WAY(Chinese-American, b. 1921)

Ai YAMAGUCHI (Japanese, b. 1977)

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.

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 with other wellacclaimed 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.

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 which have 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. 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.

黃楫 (台灣,1953年生)

魏樂唐 (華裔美籍,1921年生)

山口藍 (日本,1977年生)

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。

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。

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。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。

277


Lot 111

Lot 109

Lot 110

Tetsutaro KAMATANI (Japanese, b. 1979)

Ryoko KATO (Japanese, b. 1982)

KIM Jee Hye (Korean, b. 1976)

Born in 1979 in Osaka, Japan. Tetsutaro Kamatani now works and lives in Tokyo. His works have joined solo exhibitions “Tetsu” (2005, Nagoya); “Human Paradise” (2007, Nagoya); “The Kingdom of Images” (2008, Nagoya); and group exhibitions such as “Art Fair Tokyo” (2006-2008, Tokyo); “Wonderland-Japanese Contemporary Art Exhibition” (2008, Hong Kong); “Masked Portrait” (2008, New York).

Born in 1982 in Chiba prefecture, Japan. Ryoko Kato graduated from the Department of Design, Faculty of Arts of Tokyo Polytechnic University in 2005. Ryoko Kato has been holding solo exhibitions such as “Mercury Lollypop” (2005, Unseal Contemporary, Tokyo); “Mercury Iceberg” (2006, Unseal Contemporary, Tokyo); “Ryoko Kato” (2008, Unseal Contemporary, Tokyo); and group shows in “GEISAI3-4” (2003, Tokyo); “GEISAI5-6” (2004, Tokyo); “GEISAI7” (2005, Tokyo); “GEISAI9-10” (2006, Tokyo); “KIAF2007” (2007, Seoul), “GEISAI11” (2008,Tokyo); “Beyond Cartoon” (2008, Beyond Art Space, Beijing); “Spot” (2008, IHN Gallery, Seoul); “ShContemporary 2008” (2008, Shanghai) “Beyond Globalization” (2009, Beyond Art Space, Beijing).

Born in 1976. Kim Jee Hye graduated from the Ewha Woman's University and proceeded her MFA studies at College of Fine Arts in 1999. She received her master of education in Art degree from graduate school of Arts education in 2001. Her works have been presented in solo exhibitions including, “Yellow + Purple” (2009, Hong Kong); “Border Life” (2007, Seoul). She has also participated in several group exhibitions including, “Legend of the Royal Tombs” (2010, Korea);”Meme Tracker” (2008, Beijing); “Another Home” (2007, Hong Kong).

鎌谷徹太郎 (日本,1979年生)

加藤遼子 (日本,1982年生)

金池惠 (韓國,1976年生)

1979年出生於日本大阪,現於東京工作與生活。其作 品 曾 參 加 個展 「 徹」 (2005 ,名 古屋) 、 「 人 間樂 土」(2007,名古屋)、「影像王國」(2008,名古 屋);並參加聯展「東京藝術博覽會」(2006-2008, 東京)、「仙境-日本現代藝術展」(2008,香港)、 「戴面具的肖像」(2008,紐約)。

加藤遼子,1982年出生於日本千葉縣,2005年畢業於東 京工藝大學藝術學系設計科。加藤遼子舉辦過的個展 如「水銀冰棒」(2005,開啟的當代畫廊,東京)、 「 水 銀冰山 」( 200 6 ,開啟 的當代 畫廊, 東京) 、 「加藤遼子」(2008,開啟的當代畫廊,東京)。以 及聯展如「藝祭3-4」(2003,東京)、「藝祭5-6」 (2004,東京) 「藝祭7」(2005,東京)、「藝祭 9-10」(2006,東京)、「2007韓國國際藝術博覽會」 (2007,首爾)、「藝祭11」(2008,東京)、「超 越卡漫」 (2008,北京別處空間,北京)、「場景」 (2008,I H N畫廊,首爾)、「2008上海藝術博覽會 國際當代藝術展」(2008,上海)、「超越全球化」 (2009,北京別處空間,北京)。

1976年生於韓國。1999年畢業於梨花女子大學美術學院 藝術學士學位,2001年於美術教育研究所取得美術教 育碩士學位。曾舉辦多次個展,「黃+紫」(2009, 香港)、「邊境生活」(2007,首爾)、「黃+紫」 (2009,香港)。另參加過多次聯展,「溫故新知」 (2010,韓國)、「文化遺傳因子」(2008,北京)、 「另一個家」 (2007,香港)。

278


Lot 112

Lot 113

Lot 114

Noriyuki NAKAYAMA (Japanese, b. 1968)

Ryoji SUZUKI (Japanese, b. 1973)

Tony WONG (Chinese-American, b. 1948)

Born in 1968 in Nagano prefecture, Japan. Noriyuki Nakayama graduated from the Painting Department of the Musashino Art University in 1993, and won an award at Shell Art Award in 2003. Nakayama has participated in solo exhibitions including “Noriyuki Nakayama 19992002” (2007, Imura Art Gallery, Kyoto); “Noriyuki Nakayama - Paintings and Print” (2008, Galleri s.e, Norway); and group shows in “Shell Art Award 2003” (2003, Tokyo); “VOCA 2006” (2006, The Ueno Royal Museum, Tokyo); “KIAF 2006” (2006, Seoul); “KIAF 2007” (2007, Seoul); “CIGE 2008” (2008, Beijing); "Harmony Analysis: Noriyuki Nakayama, Kaori Watanabe" (2010, Imura Art Gallery, Kyoto).

Born in 1973 in Chiba prefecture, Japan. Ryoji Suzuki graduated from the Department of Print of Tama Art University in 1999. His solo exhibition history as below: Gallery Jinguen (2006, Tokyo); Artis Kagurazaka Gallery (2008, Tokyo); Bihoh Gallery (2009, Tokushima); “Box Series” (2009, Vienna) ; and group shows in “Hitotohito” (2006, Osaka); “Hitobito” (2008, Tokushima); “Art Osaka 2008” (2008, Osaka); “Geisai 2008” (2008, Tokyo).

Born in Guangdong province, Wong is now living in New York City. Wong graduated from The Art Institute of Chicago in 1972 and received his MA degree from University of California, Berkeley in 1973. In 1975, he also received MFA from Berkeley. His symbolist artworks of delicate restraint abstract style are distinct. Wong represented by American Pavilion at Venice Biennale in 1984. His artworks have been exhibited in New York City, San Francisco, Los Angles, Chicago, Huston, Taipei and Hong Kong.

中山德幸 (日本,1968年生)

鈴木良治 (日本,1973年生)

黃榮禧 (華裔美籍,1948年生)

1968年出生於日本長野縣,1993年畢業於武�野美術 大學油畫系,並於2003年榮獲Shell美術賞。中山參加 過的個展包括:「中山德幸1999-2002」(2007,井村 藝術畫廊,京都)、「中山德幸─油畫及印刷作品」 (2008,s.e畫廊,挪威);以及聯展如:「S h e l l 美術賞展2003」(2003,東京)、「V O C A展2006」 (2006,上野之森美術館,東京)、「2006韓國藝術 博覽會」(2006,首爾)、「2007韓國藝術博覽會」 (2007,首爾)、「2008中藝博國際畫廊博覽會」 (2008,北京)、「和聲分析:中山德幸、渡邊佳織」 (2010,井村藝術畫廊,京都)。

鈴木良治,1973年出生於日本千葉縣,1999年畢業於日 本多摩美術大學版畫系。其作品曾參與過的個展如下: 神宮苑畫廊(2006,東京);Artis神樂坂畫廊(2008, 東京);德島眉峰畫廊(2009,德島);「箱子系列」 (2009,維也納)。以及群展「人與人展」(2006,大 阪)、「人人展」(2008,德島)、「大阪藝術博覽 會2008」(2008,大阪)、「藝祭2008」(2008,東 京)。

1948年生於中國廣東省,現旅居美國紐約。1972年畢業 於芝加哥藝術學院。1973年畢業於加州大學柏克萊分 校,獲文學碩士學位。1975年畢業於加州大學柏克萊分 校,獲美術碩士學位。其婉約抽象主義風格的象徵派油 畫作品尤為著名。1984年曾代表美國參加義大利威尼斯 雙年展。其作品先後在紐約、三藩市、洛杉磯、芝加 哥、休士頓、台北、香港等各大城市辦展。

279


Lots 116, 163, 269

Lots 115, 179, 237, 238

Lots 117, 202

YANG Mao-lin (Taiwanese, b. 1953)

Chang-Ling (Taiwanese, b. 1975)

JAN Chin-shui (Taiwanese, b. 1953)

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 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 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).

楊茂林 (台灣,1953年生)

常陵 (台灣,1975年生)

詹金水 (台灣,1953年生)

1953年生於台灣彰化。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。

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。

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)。

280


Lots 119, 135

Lots 120, 124, 175

Lots 118, 173

CHIU Ya-tsai (Taiwanese, b. 1949)

YANG Chihung (Taiwanese, b. 1947)

Michell HWANG (Taiwanese, b. 1948)

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.

Born in Taoyuan, Taiwan, 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 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.

邱亞才 (台灣,1949年生)

楊識宏 (台灣,1947年生)

黃銘哲 (台灣,1948年生)

1949年生於台灣宜蘭,非學院派畫家,自幼對正規學業 不感興趣,退伍後才開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。

出生於台灣桃園,楊識宏於1968年畢業於國立藝專美術 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。

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 V S 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。

281


Lots 122, 178, 212

Lots 125, 133

Lots 121, 136, 209, 211

CHUANG Che (Taiwanese, b. 1934)

LIEN Chien-hsing (Taiwanese, b. 1962)

SHIY De-jinn (Taiwanese, 1923-1981)

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.

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 Pin 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 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.

莊喆 (台灣,1934年生)

連建興 (台灣,1962年生)

席德進 (台灣,1923-1981)

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。

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」 。

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。

282


Lot 126

Lots 127, 128

Lot 129

LI Chun-shan (Taiwanese, 1912-1984)

SANYU (Chinese-French, 1901-1966)

YAO Jui-chung (Taiwanese, b. 1969)

Born in 1912, graduated from Tokyo University Department of Fine Arts, Western Paintings branch, Li joined a Japan progressive art group in Tokyo called the “Black Western Painting Society”, compiled and written the “The Paintings In The 20th Century” at the same year. He taught at Hangzhou National Academy of Art from 1943 to 1946. In 1945, Li and Zao Wou-ki, Ding Yanyong, Guan Liang, Lin Fengmian, and Pang Xunqin attended the “Group Exhibition of Modern Paintings” in Chongqing. He came to Taiwan in 1949, taught at Taipei Chongshan Girls High School and National Changhua Girls Senior High School in order. He is also the founder of the “Progressive Art Research Group” in Taipei 1951; his student founded the “Ton Fan Group” in 1957. He attended the “China Modern Art Exhibition” in Italy, 1965, and acquired the golden duke award in the “Painting Educational category” presented by Taiwan Painting Society in 1982.

Born in 1901, Sichuan. Sanyu attended 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.

Yao Jui-chung was born in 1969 in Taipei. He graduated from The National Institute of The Arts (Taipei National University of the Arts) with a degree in Art Theory. In 1997, he represented Taiwan in “Facing Faces - Taiwan” at the Venice Biennale and took part in the International Triennale of Contemporary Art Yokohama in 2005. He also participated in numerous other large international exhibitions. Apart from working in the fields of theatre and film, he has taught art history, wrote art criticisms and curated exhibitions. He held solo exhibitions, “Wonderful” (2008, Geneva); “Everything will Fall into Ruin” (2006, Taipei); ”Elysium” (2003, UK). His works have been collected by the Taipei Fine Arts Museum, Taipei, Taiwan; the Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan; the National Taiwan Museum of Fine Arts, Taichung, Taiwan; Queensland Art Gallery, Brisbane, Australia; Herbert F. Johnson Museum of Art Collection, Cornell University, USA; Bibliothèque National de France, Paris ( French National Library, Paris), and many private collectors.

李仲生 (台灣,1912-1984)

常玉 (華裔法籍,1901-1966)

姚瑞中 (台灣,1969年生)

生於廣東,畢業於東京大學美術系西洋畫科。1935年加 入日本前衛美術團體-東京「黑色洋畫會」,並於同年 編寫《二十世紀繪畫總論》。1943至1946年間任教於杭 州藝專。1945年與趙無極、丁衍庸、關良、林風眠及龐 薰等畫家參加重慶「現代繪畫聯展」。1949年來台,先 後任教於台北第二女子中學及彰化女中。李氏於1951年 在台北開辦「前衛藝術研究室」,其學生於1957年組成 「東方畫會」。1965年參加義大利舉辦的「中國現代畫 展」。李氏於1982年獲台灣畫學會的「繪畫教育類」金 爵獎。

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。

1969年生於台灣台北,1994年國立藝術學院(國立台北 藝術大學)美術系理論組畢業,曾代表台灣參加1997年 威尼斯雙年展、2005年橫濱三年展以及2009年亞太三年 展,海內外聯展百餘次,也曾從事過小劇場、電影、美 術史教學、藝術評論、策展等工作。個展:「忘德賦」 (2008,日內瓦);「所有一切都將成為未來的廢墟」 (2006,台北);「極樂天堂」(2003,英國)。作品 曾被台北市立美術館、高雄市立美術館、國立台灣美術 館、澳洲昆士蘭美術館、美國康乃爾大學美術館、法國 國家圖書館以及許多國內外私人單位典藏。

283


Lots 132, 141, 155

Lot 130

Lot 131

CHEN Chi-kwan (Taiwanese, 1921-2007)

YU Cheng-yao (Taiwanese, 1898-1993)

LIU Kuo-sung (Taiwanese, b. 1932)

Born in 1921 in Beijing. In 1949, he graduated from Illinois State University School of Architecture in the United States. In 1952, he held his first exhibition at the Museum of Art of the MIT. In 1959, the British art critic Michael Sullivan called him “The Most Creative Chinese Painter”. In 1963, the Tung Hai University Luce Chapel he designed which was completed and considered of great significance by the international architectural world. Chen Chi-kwan is one of the few examples of artists who successfully brought in Western influence to enrich Oriental art. Using his special training in Western style watercolor and graphic design, he blended Chinese traditional calligraphy and brush painting to provide Chinese Painting with an entirely new appearance. Among his works, those that resulted form his “multi-viewpoint” played up the importance of space time duality, continuing the space time tradition of Chinese Landscape painting tradition down from the Han and Tang dynasties.

Born in 1898 in Yongchun, Fujian, He was orphaned at the age of four and eaised by his grandmother. In 1920, he went to Waseda Univesity in Japan to study economics. The following year, he transferred to the Japanese Army Officers’ Academy. In 1923, he returned to China to teach at the Whampoa Military Academy. In 1946, he retired from military service at the rank of lieutenantgeneral. In 1949, he came to Taiwan. In 1986, at the advanced age of eighty-eight, he held his first solo exhibition at the Hsiung-shih Gallery in Taipei. In 1988, the National Museum of History held a retrospective exhibition of his works. Yu Cheng-yao only started painting at the age of fifty-five. Because in his early years he had been in the military and traveled extensively, his style of painting was more of a recapitulation from memory. He was a successful self-taught painter, calligrapher and poet.

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.

陳其寬 (台灣,1921-2007)

余承堯 (台灣,1898-1993)

劉國松 (台灣,1932年生)

中國北京人。1944年畢業於中央大學建築系。1949年畢 業於美國伊利諾州立大學建築研究所。1952年首展於麻 省理工學院藝術館。1959年英國藝術評論家蘇立文譽為 「最具創造性之中國畫家」。1960年擔任東海大學建築 系系主任。1963年其所設計之東海大學路思義教堂落 成,受世界建築界重視。陳其寬是少數引西潤中的成功 例子之一,他融合中國傳統書法水墨,賦予中國繪畫全 新風貌。其畫中「多視點」演變出之畫作,具有時空二 重性,延續中國畫自漢唐以來之時空傳統。為藝評家吳 訥孫(鹿橋)喻為中國畫三百年來第一人;漢寶德認為 六百年來第一人,誠非溢美之詞。

1898年生於福建永春,1920年赴日早稻田大學攻讀經 濟,次年轉入日本陸軍士官學校。1923年返回任教於黃 埔軍校。1946年以中將官階退伍。1949年來台。1986年 以八十八歲高齡於台北雄獅畫廊舉辦首次個展。1988年 台北歷史博物館舉辦回顧展。由於早年從軍,走過千山 萬水,五十五歲才開始作畫,他的繪畫風貌即為記憶的 再現,一位自修成功的畫家、書法家和詩人。

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。

284


Lot 140

Lots 134, 137, 153 Lots 139, 148, 152, 184

YANG San-lang (Taiwanese, 1907-1995)

CHU Teh-chun (Chinese-French, b. 1920)

LIN Fengmian (Chinese, 1900-1991)

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.

Born in 1920 in Jiangsu, China. In 1935, Chu 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 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.

楊三郎 (台灣,1907-1995)

朱德群 (華裔法籍,1920年生)

林風眠 (中國,1900-1991)

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。

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。

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」。

285


Lots 142,143, 200

Lot 144

Lots 145, 205

LI Chen (Taiwanese, b. 1963)

Yun GEE (Chinese-American, 1906-1963)

CAI Guo-Qiang (Chinese, b. 1957)

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 sculptures, 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 & 2006 “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 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 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).

李真 (台灣,1963年生)

朱沅芷 (華裔美籍,1906-1963)

蔡國強 (中國,1957年生)

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—「開放亞洲」;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。

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。

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)。

286


Lots 149, 151, 188

Lot 146

Lots 147, 225, 236

George CHANN (Chinese-American, 1913-1995)

HUANG Gang (Chinese, b. 1961)

ZAO Wou-ki (Chinese-French, b. 1921)

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 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 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 Chongqing in the same year. He emigrated 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.

陳蔭羆 (華裔美籍,1913-1995)

黃鋼 (中國,1961年生)

趙無極 (華裔法籍,1921年生)

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。

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。

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。

287


Lot 158 Lot 154 Lots 150, 156, 157, 180, 189, 190, 191, 271

JU Ming (Taiwanese, b. 1938)

Paul CHIANG (Taiwanese, b. 1942)

XU Maomao (Chinese, b. 1979)

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 1942 in Taichung, Taiwan, Chiang graduated from the Fine Arts Department of National Taiwan Normal University in 1965. He lived in Paris in 1967, then moved to and stayed in New York in 1968, and came back to Taiwan in 1997 till the present. He has held solo exhibitions at the Taiwan Provincial Museum (1966, Taipei); exhibitions held by Lamagna Gallery (1975, New York); by O. K. Harris Gallery (1994, New York); by Eslite Gallery (1997; 1998; 2000, Taipei); and his recent solo exhibition “A Journey into Dimension and Space” (2007, Taipei) which have led Chiang to extend his art career from painter to sculpture artist, in which he exhibited his new works of iron sculptures, as results of his ambition in exploring the use of space and developing three dimensional works.

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.

朱銘 (台灣,1938年生)

江賢二 (台灣,1942年生)

徐毛毛 (中國,1979年生)

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。

1942年生於台中,於1965年自國立台灣師範大學藝術 系畢業,1967年旅居巴黎,1968年搬至紐約,於 1997 年返台定居。曾在多處舉辦個展,如台北省立博物館 (1966)、紐約L a m a g n a畫廊的個展(1975)、紐約 O. K. 哈里斯畫廊個展(1994)、台北誠品畫廊個展 (1997、1998、2000);而2007年舉辦的個展「平面與 空間」,則是江賢二從平面發展到空間的一大突破,除 了展現在繪畫上的成就,也展出了嘗試製作的雕塑作 品,展現藝術家在美術開發創作上的企圖心。

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。

288


Lot 159

Lots 160, 169, 215

Lots 161, 207, 208

XUE Song (Chinese, b. 1965)

CHEN Liu (Chinese, b. 1973)

XIA Junna (Chinese, b. 1971)

Born in Anhui Province. In 1988, he graduated from the Shanghai Drama institute. He now lives and works in Shanghai. His solo exhibitions include the British Embassy in Beijing in 1992, the Shanghai Art Museum in Shanghai in 1966, “Standing on the Shoulder of Giants”, Shangh Art, Shanghai in 2000, “Xue Song Solo Show” at the Chinese Contemporary Art Gallery in London in 2001; “Ver Da Ga-Xue Song Fashion Series” at Shanghai Art in 2002; Xue Song solo shows at the Walsh Gallery in Chicago, Gallery de Monde in HK and Shanghai Art Gallery in Shanghai. Shanghai in 2003, Group exhibitions included “Shanghai 2000” at Walsh Gallery in Chicago; Shanghai Art Fair in Shanghai, “Transcending Boundaries” at MSU Art Gallery at Montclair State University, “Future Chinese Contemporary Art” in Macau in 2000; “Metaphysics 2001” at the Shanghai Art Museum, “As Long As They Catch Mice”, Munkeruphus Gallery in Denmark, “Crossing Over” at Walsh Gallery in Chicago; “Initial Image” at Yibo Gallery in Shanghai; “Ost + West at Ausstellung zeitgenoesischer kunst aus China” in Vienna, Austria; “Metaphysics 2002” at the Shanghai Art Museum in 2002 and “Paris-Beijing” at Espace Cardin in Paris in 2002.

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 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.

薛松 (中國,1965年生)

陳流 (中國,1973年生)

夏俊娜 (中國,1971年生)

出生於安徽省,1988年畢業於上海戲劇學院舞台美術 系,現居於上海。曾多次舉辦個展,當中有1992年北京 英國大使館「薛松畫展」、1996年上海美術館「薛松個 人展」、2002年,上海香格納畫廊「站在巨人的肩膀 上」、2001年,英國倫敦中國當代畫廊「薛松個展」、 2002年,上海香格納畫廊「不搭界」、2003年於多國舉 行個展。而他多次參加國際群展,當中有1996年,德國 波恩現代藝術博物館「覺醒的中國」、1997年,維也 納、哥本哈根等地巡迴展出「中國!」現代藝術展、 2002年,法國巴黎皮爾卡登空間「巴黎-北京」;澳門 「未來-中國當代藝術展」等。

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)。

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。

289


Lots 162, 164 Lots 165, 167

Lot 168

CAO Jingping (Chinese, b. 1972)

GAO Huijun (Chinese, b. 1966)

YIN Kun (Chinese, b. 1969)

Cao Jingping was born in Chongqing, graduated from the affiliated middle school to Sichuan Fine Arts Institute in 1992 and graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired bachelor degree. During 1997-1998, Cao went to Germany Kassel Academy of Fine Arts to pursue advanced studies, in 1999 graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired a master degree. In 2001, Cao participated the “Sweet Illusions” six artist joint exhibition in Shanghai Museum of Fine Arts, China; “Chongqing Chilies” in Kulturbahnhof, Germany; and “Post-Politics” in The Bloxham Galleries, London, UK.

Born in Baoding, Hebei, Gao Huijun graduated from the Hebei Light Industry School in 1986, and the Central Industrial Art Institute in 1992. He became a professional painter since 1994. He attended China Art Fair in Beijing in 1995 and won the outstanding prize. In the same year, he also participated in the Contemporary Art Exhibition of China in Germany. After 1996, he held solo exhibitions in Beijing and Singapore; his works are also collected by Teda Contemporary Art Museum in Tianjin.

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.

曹靜萍 (中國,1972年生)

高惠君 (中國,1966年生)

尹坤 (中國,1969年生)

出生於重慶。1992年畢業於四川美術學院附中,1996年 畢業於四川美術學院油畫系並獲學士學位,1997—1998 赴德國卡塞爾美術學院學習,1999年畢業於四川美術學 院油畫系並獲碩士學位。2001 《甜蜜的幻覺》當代藝術 六人作品展中國上海美術館。《重慶辣椒》展於德國卡 塞爾文化火車站。《後政治》藝術作品展於英國倫敦的 布洛斯罕畫廊。

生於河北保定。1986年畢業於河北輕工業學校,1992畢 業於中央工藝美術學院。1994年成為職業畫家。1995年 參加北京中國藝術博覽會,獲優秀作品獎,同年也參與 德國中國現代藝術展。1996年起先後在北京、新加坡舉 辦個人畫展,其作品也為天津泰達當代藝術博物館收 藏。

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。

290


Lots 172, 214

Lot 170 Lot 171

YANG Ren-ming (Taiwanese, b. 1962)

ZHANG Handong (Chinese, b. 1964)

DU Xi (Chinese, b. 1980)

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.

Born in the hometown of prints, Yunnan in 1964. Zhang is a talented painter. He graduated in fine arts department from Yunnan Arts University. He had been vice-director in fine arts department of Yuxi Normal University, he is currently the vice-principal of Nieer Arts University. His way of creating is passionate but conscientious and careful at the same time. The style is simple but touching. He constantly conveys the characteristics of people, events, places and objects that he’d experienced vividly through his tactful academic skills. No matter in China or abroad, we could find his gorgeous work in many significant architectures. He’s one of the artists whose works are quite popular for collection. Zhang is still in his summer of life, won several important art prizes in these years. All reveals his infinite artistic potential. In 1998, his oil painting works participate in “Art Taipei 98”, in 2004, Zhang participated in the first Gallery Fair in Beijing. In 2006, he’s one of the invited artists of Munich oil paintings exhibition and held “Revitalized Homeland-Zhang Handong Solo Exhibition” in Taipei.

Du Xi was born in 1980. In 1984, he followed his mother to Fine Art Academy of the Chinese People’s Liberation Army, where he was put in touch with painting. In 1995, he went to pre-school class of the middle school affiliated to China Central Academy of Fine Arts. He enrolled in the middle school affiliated to Yunnan Art Institute in 1996, and graduated in 1999. He was admitted to Fine Art department of Yunnan Art Institute in the same year. In 2005, he went to USA for exhibition and stayed in USA for advanced study. Now he is living and working in Kunming.

楊仁明 (台灣,1962年生)

張漢東 (中國,1964年生)

杜溪 (中國,1980年生)

台灣高雄人,1985年畢業於文化大學美術系西畫組,同 年獲選雄獅新人獎。1988年赴法研習。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。

生於版畫的故鄉─雲南的張漢東教授是一位才氣型的畫 家。畢業於雲南藝術學院美術系,曾任玉溪師範學院藝 術系副主任,現為聶耳藝術學院副院長。張漢東作畫的 理念熱情而嚴謹,畫風則純樸且感人。他一向真誠地把 自己親身經歷的人事地物,透過老練的學院派技法,十 分傳神的舒發出來。海內外有許多重要建築都可看到他 精彩作品的蹤跡,是當今深具收藏潛力的畫家。張氏雖 仍是青壯之年,但歷年來頻得大獎,處處顯示其無可限 量的藝術潛力。1998 年,其油畫作品參加台灣「‘98台 北國際藝術博覽會」展出,2004 年油畫作品參展北京首 屆畫廊博覽會,2006年德國慕尼黑油畫邀請展及在台北 舉辦「重返生命的家園」張漢東油畫個展。

1980年出生。1984年隨母���到解放軍藝術學院,開始接 觸繪畫。1995年赴北京中央美術學院附中預科班,1996 年考入雲南藝術學院附中,於1999年畢業。1999年考入 雲南藝術學院美術系,2005年赴美國參加展覽,並在美 國學習進修。現生活工作於昆明。

291


Lot 177 Lots 176, 220, 240, 242,

Lot 174

Walasse TING (Chinese-American, 1929-2010)

J. C. KUO (KUO Jen-chang) (Taiwanese, b. 1949)

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.

Born in Wuxi, Jiangsu, China, but raised in Shanghai where, he started as a street painter. 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.

Kuo born in Lukuang, Changhua, Taiwan 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.

賈剛 (中國,1974年生)

丁雄泉 (華裔美籍,1929-2010)

郭振昌 (台灣,1949年生)

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。

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。

1949年生於台灣彰化鹿港,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。

JIA Gang (Chinese, b. 1974)

292


Lot 181 Lot 182

Lot 183

LIU Xiaodong (Chinese, b. 1963)

ZHANG Huan (Chinese, b. 1965)

ZHANG Hongtu (Chinese, b. 1943)

Born in Liaoning Province. Liu graduated from fine arts in oil painting department, China Central Academy of Fine Arts(CAFA) in 1988. In 1995, he received master degree in fine arts in oil Painting of CAFA. He has been teaching in CAFA. Primary exhibitions: “Towards a New Image---1981-2001 Twenty Years of Contemporary Chinese Painting” , Beijing, Shanghai, Guangzhou, Chengdu, 2001; “Liu Xiao Dong” , Art Center of Donghai University, Taiwan, 2002; “Alors, La Chine?”, Centre Pompidou, Paris,2003; “Dreaming of the Dragon’s Nation---Contemporary Art Exhibition from China”, Irish, 2004; “Wang Guangle, Yin Chaoyang, Men Xinxi, Xia Xiaowan, Liu Xiaodong Art Show”, Beijing, 2005; “The Three Gorges Project-Painting by Liu Xiaodong”, San Francisco, 2006.

Born in An Yang City, China. He received his Master Degree in 1993 from Central Academy of Fine Arts, Beijing, China. Now lives and works in Shanghai and New York. Zhang Huan, the representative of the Chinese avant-garde art, engaged in performance art. He participated in various solo exhibitions, including “Amituofo” (2010, Taipei), “Neither Coming Nor Going” (2009, New York), “Altered States” (2008, Canada), “Ash”, Haunch of Venison, (2007, UK). Selected group exhibitions are “Art for The World, The Sculpture Project of The Expo Boulevard” (2010, Shanghai), “Steel Life” (2009, Italy), “China Gold, Contemporary Chinese Art” (2008, France). His works have been collected by The Museum of Modern Art, New York, USA, Solomon R. Guggenheim Museum, New York, USA and Shanghai Art Museum, Shanghai, China.

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.

劉小東(中國,1963年生)

張洹 (中國,1965年生)

張宏圖 (中國,1943年生)

生於遼寧省,1988年畢業於中央美術學院油畫系, 1995 年獲中央美術學院油畫系碩士學位。現任教於中央美術 學院油畫系。重要展覽: 2001年「新形象 1981-2001中 國當代藝術20年巡迴展」, 北京、上海、成都;2002年 「劉小東在東海」,台灣;2003年「中國怎麼樣? 」, 龐畢度中心,巴黎;2004年「龍族之夢—中國當代藝術 展」,愛爾蘭;2005年「王光樂、尹朝陽、門欣熙、夏 小萬,劉小東藝術展」,北京;2006年「三峽專案—劉 小東作品」,舊金山。

生於河南安陽,1993年畢業於北京中央美術學院,獲碩 士學位。現工作生活於上海和紐約。主要從事行為表演 藝術,是中國前衛藝術的代表人物。作品曾參加「阿彌 陀佛─張洹個展」(2010,台北)、「不來也不去─ 張洹個展」(2009,紐約)、「改變的狀態─張洹個 展」(2008,加拿大)、「香灰─張洹個展」(2007, 英國)。以及「世界的藝術,世界博覽會軸雕塑展」 (2010,上海)、「鋼鐵生活」 (2009,義大利)、 「中國金,中國當代藝術展」(2008,法國)多次聯 展。除多次參與國內外展覽外,作品也獲紐約現代美術 館、古根漢美術館、上海美術館典藏。

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。

293


Lot 185

Lot 187 Lot 186

XU Bing (Chinese, b. 1955)

YAN Pei Ming (Chinese, b. 1960)

ZHANG Xiaogang (Chinese, b. 1958)

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 Shanghai. Currently lives and works in Dijon. From 1981 until 1986, he studied in Ecole Nationale des Beaux-arts Dijon.; He studied in Institut des Hautes Etudes en Arts Plastiques de Paris afterwards from 1988-1989, and in the Italian Académie de France in Rome from 1993-1994. Since 1995, he has taught in Ecole Nationale des Beaux-arts Dijon. He participated in “Studio 88” (1988, Museum of Modern Art of Paris), “Mouvement 2” (1991, Centre de Pompidou), “Chinese Avant-garde Art” (1993, Berlin, Rotterdam, Oxford), the “Biennale of Venice” (1995), the “Biennale of Lyon”(1997), the “Biennale of Gwangjiu” (2000, Korea), the “Biennale of Shanghai” (2000), the “Biennale of Pankoo” (2002, Korea) and other internationally reputed exhibitions and art fairs.

Born in Kunming, he graduated from the Sichuan Art Institute, of Oil Painting. After Zhang attended the “China Contemporary Art Exhibition” in Beijing China Art Museum in 1989, he has continually participated in many international major exhibitions, including: The 22nd Sao Paulo Biennale in 1994 where he won 3rd place. The next year he was invited to participate in the 46th Venice Biennale as well as the “15 Years of Avant-Garde Art In China’’ held by the Barcelona Contemporary Art Museum in Spain. In 1996 he attended the China Contemporary Art Exhibition in the Kunst Museum, Bonn. He collaborated with four other contemporary artists from China and had a group exhibition in Galerie de France. In 1997, he was proclaimed by the Outt’s International Contemporary Art Foundation in England as the “Contemporary Art Best New Act”. His works are also collected by many major museums, including the Guggenheim Museum in the United States, and the Fukuoka Art Museum in Japan.

徐冰(中國,1955年生)

嚴培明(中國,1960年生)

張曉剛(中國,1958年生)

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。

出生於上海。1981年移居法國第戎。1981-1986年 就讀於法國第戎國立美術學院。1988-1989年法國 巴黎造型藝術高級研究院學習。1993-1994 義大利 羅馬法蘭西學院學習。1995年至今為法國第戎國立 美術學院教授。先後參加「畫室88」(1988年,巴 黎現代藝術博物館)、「運動2」(1991年,龐畢 度中心)、「中國前衛藝術」(1993年,柏林、鹿 特丹、牛津等)、「威尼斯雙年展」(1995年)、 「里昂雙年展」(1997年)、「光州雙年展」 (2000年,韓國)、「上海雙年展」(2000年)、 「釜山雙年展」(2002年,韓國)等國際大展。

生於昆明,畢業於四川美術學院油畫系。1989年起 於北京中國美術館參加中國現代藝術大展後,陸續 參加許多國際重要大展,如1994年參加第22屆巴西 聖保羅雙年展,並獲銅牌,次年應邀參加第46屆威 尼斯雙年展以及西班牙巴塞隆納現代藝術博物館舉 辦的中國前衛藝術15年。於1996年參加了德國波恩 美術館舉辦的中國當代畫展及巴黎法蘭西畫廊舉行 的1996年來自中國的四位當代藝術家聯展,1997年 入選瑞士巴塞爾舉行的國際當代藝術博覽會及獲頒 由英國o u t t掇國際當代藝術基金會的當代藝術新人 獎。作品亦被許多重要美術館收藏,如美國古根漢 美術館、日本福岡美術館等。

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Lot 193

Lot 194

Lot 192

ZHAN Wang (Chinese, b. 1962)

JI Yong Ho(Korean, b. 1978)

LIANG Ping-cheng (Taiwanese, b. 1958)

Born in Beijing, Zhan graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree from Central Academy of Fine Arts in 1995. In 1990, he started creating sculptures of Pure Realism. In 1991, he participated in the New Generation Art Exhibition. In 1992, he participated in Exhibition of Contemporary Young Sculptors. In 1995, his work was selected in the Beijing-Berlin Art Exchange Exhibition and in the Exhibition of Works Nominated by Chinese Art Critics. In 1997, he participated in 97 Chinese Contemporary Art Exhibition in Tokyo and in “Moving Cities” Asian Contemporary Art Exhibition Tour. His works were published in World Sculptures: Eastern Section, 50 Years of Chinese Fine Arts, The Complete Treasury of Chinese Fine Arts, etc. He has issued an academic dissertation, Conceptual Sculpture - The Idea of Materialization. His works have been collected in many art museums in China and in the Museum of Chicago University as well as in the personal collection of collectors in Switzerland, Germany, United States, and Singapore, etc.

1978 Born in Korea. He graduated from Hongik University, South Korea in 2005, received a bachelor’s degree. In 2008 graduated from New York University, received a master’s degree. Solo Exhibitions: 2007 “Mutant”, Seoul; 2008 “Mutant Mythos”, New York; 2009 “Mutant Colour”, Taipei. Important group Exhibitions: 2004 “10 Different Views of Environment”,Seoul; 2005 “Between”, Stuttgart; 2006 “Khaos”, Seoul; 2007 “I Love New York”, New York; 2008 “Sevilla Biennale”, Spain; 2009 “Chocolate Box”, GyeongGi-Do.

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).

展望(中國,1962年生)

池龍虎(韓國,1978年生)

梁平正(台灣,1958年生)

生於北京。1988年畢業於中央美術學院雕塑系, 1995年中央美術學院研究生班結業。1990年開始從 事超寫實主義雕塑創作,1991年參加新生代藝術 展,1992年參加當代青年雕塑家邀請展,1995年參 加北京─柏林藝術交流展,批評家年度提名入選, 1997年參加東京97中國當代藝術展,同年參加「移 動的城市」亞洲當代藝術巡迴展。作品曾被收入 《世界雕塑全集.東方部分》、《中國美術五十 年》、《中國美術全集》等,發表學術論文《觀念 性雕塑─物質化的觀念》。作品收藏於國內數家美 術館及美國芝加哥大學博物館,及瑞士、德國、美 國、新加坡等私人收藏。

1978年生於韓國。2005年畢業於韓國弘益大學,獲學士 學位。2008年畢業於紐約大學,獲碩士學位。個人展 覽有:2007年「突變神話」,首爾;2008年「突變神 話」,紐約;2009年「突變繽紛」,台北。重要聯展 有:2004年「10種對環境的觀點」,首爾;2005年「之 間」,斯圖加特;2006年「混沌」,首爾;2007年「我 愛紐約」,紐約;2008年「塞維爾雙年展」,西班牙; 2009年「巧克力盒」,韓國。

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 195

CHANG Keng-hau & CHANG Geng-hwa (Taiwanese, b. 1980) & (Taiwanese, b. 1980) Both born in 1980 in Taipei, Chang Keng-hau and Chang Geng-hwa are twin brother artists. Chang Kenghwa graduated from sculpture department, National Taiwan University of Arts in 2003, and received the master’s degree from Graduate School of Arts and Technology, Taipei National University of the Arts in 2007. Chang Geng-hwa born in Taipei, Taiwan. Chang Genghwa graduated from Sculpture Department, National Taiwan University of Arts in 2002. Keng-hau’s works are mainly graphic design and interactive video, and Geng-hwa specializes in mechanical dynamics and the shape of works. Their works join various exhibitions including “Flying Yoyo” Exhibition (Tamsui Center of Arts & Culture, Taipei county, 2003), “Fiction Love Ultra New Vision in Contemporary Art” (MoCA Taipei, 2004) and “Screw it–Chang Keng-hau Chang Geng-hwa Solo Exhibition” (NHCUE Arts Space, Hsinchu County, Taiwan, 2006) and “Animamix Biennial: From Modernity to Eternity” (MoCA Shanghai, 2007) etc..

張耿豪 & 張耿華 (台灣,1980年生) & (台灣,1980年生) 張耿豪與張耿華為一對攣生兄弟藝術家,1980年兩人出 生於台北。張耿豪2003年畢業於國立台灣藝術大學雕 塑學系,並於2007年取得國立台灣藝術大學科技藝術 研究所碩士學位;張耿華2002年畢業於國立台灣藝術大 學雕塑學系。哥哥張耿豪的作品多為平面創作以及影像 互動,弟弟張耿華則專長於機械動力以及作品造型。兩 人共同創作曾參加過2003年淡水藝文中心的「飛天搖搖 馬」個展、2004年台北當代藝術館「虛擬的愛-當代新 異術」聯展、2006年新竹教育大學竹師藝術空間「張耿 豪、張耿華雙個展」,以及2007年上海當代藝術館「動 漫美學雙年展:從現代性到永恆」聯展等。

Lots 196, 198

Lot 197

Hiroto KITAGAWA (Japanese, b. 1967)

Ai HAIBARA (Japanese, b. 1981)

Born in 1967 in Otsu city, Shiga prefecture, Japan. Hiroto Kitagawa graduated from the Kanazawa College of Art in 1989 and Academy of fine Arts, Carrara, Italy in 1998, majoring in Sculpture. His works were presented in solo exhibitions held by Yoshiaki Inoue Gallery (2003; 2004; 2006; 2008, Osaka); by Spazio Consolo (Marella Arte Contemporanea) (2002, Milan); by Shinjuku Takashimaya Art Gallery (2007, Tokyo); by Tokyo Gallery + BTAP (2008, Tokyo) ; by Eslite Gallery (2009, Taipei). Some of the group shows he joined are: “Alternative Paradise” (2005, 21st Century Museum of Contemporary Art, Kanazawa); “ Art Fair Tokyo” (2005; 2007; 2008; 2009; 2010, Tokyo); “Japanimation” (2006, Tokyo Gallery + BTAP, Beijing); “Japanese Contemporary Arts” (2007, Gallery Sun Contemporary, Seoul); “Works in progress” (2007, Tokyo Gallery + BTAP, Beijing); “Figurative : Personified Shapes” (2008, Tsukuba Museum, Ibaraki); “Milestones” (2008, Tokyo Gallery + BTAP, Beijing); “Collection II shell – shelter” (2008, 21st Century Museum of Contemporary Art, Kanazawa)

Ai Haibara was born in 1981 in Okayama Prefecture, Japan. She graduated from Craft Course of Faculty of Fine Arts and Music, Tokyo National University of Fine Arts and Music in 2004. After that, she got the MD in Craft Course of Faculty of Fine Arts, Tokyo National University of Fine Arts and Music in 2006. Her selected solo exhibition include: “Memories Journey” (2006, Okayama), “A Stir in My Heart” (2007, Tokyo). Selected group exhibition include: “Four Persons’ exhibition” (2003, Tokyo), “Space with Sculpture - Four persons’ exhibition of sculpture” (2004, Tokyo), “Descendants of Atelier or of it future” (2006, Tokyo), “Descendants of Atelier or of It Future” (2007, Tokyo).

北川宏人 (日本,1967年生)

灰原愛 (日本,1981年生)

北川宏人,1967年出生於日本滋賀縣大津市,1989年於 金澤美術工藝大學雕塑科畢業,1998年於義大利卡拉 拉藝術學院雕塑組畢業。其作品參加過多次個展,如 井上佳昭畫廊(2003、2004、2006、2008,大阪)、 舒適空間《瑪芮拉當代藝術》(2002,米蘭)、新宿

1981年出生於日本岡山縣,2004年畢業於東京藝術大學 美術系,主修雕刻,並於2006年取得碩士學位。其作品 參加過的個展如「記憶的旅程」(2006,岡山)、「悸 動」(2007,東京)。以及聯展「四人聯展」(2003, 東京)、「東京藝術大學雕刻四人聯展-雕刻的空間」 (2004,東京)、「畫室的後裔或未來展」(2006,東 京)、「畫室的後裔或未來展」(2007,東京)。

高島屋美術畫廊(2007,東京)、東京畫廊(2008, 東京)、誠品畫廊(2009,台北)。參加過的聯展有: 「另一個天堂」(2005,金澤21世紀美術館,金澤)、 「東京藝術博覽會」(2005、2007、2008、2009、 2010,東京)、「日本動漫」(2006,東京畫廊,北 京)、「日本當代藝術」(2007,S U N當代畫廊,首 爾)、「進行中之作」(2007,東京畫廊,北京)、 「魅惑之像」(2008,筑波美術館,日本茨城)、「里 程碑」(2008,東京畫廊,北京)、「典藏展II─殼」 (2008,金澤21世紀美術館,金澤)。

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Lot 199

Lot 201

Lot 203

HUANG Ming-chu (Taiwanese, b. 1980)

PENG Kuan-jun (Taiwanese, b. 1961)

Liao Yu-an (Taiwanese, b. 1979)

Born in 1980 in Hualien, Taiwan. Huang graduated from Graduate Institute of Applied Arts, Tainan National University of the Arts. She has been participated the group exhibition of “New Metal Craft exhibition” at Taiwan Architecture-Design and Art Center in 2007. Her work was attended the 15th Da Dum Fine Arts Exhibition in 2009, and won Merit Award from Taiwan Crafts Design Competition.

Born in Chu-Tung, Hsinchu County in 1961, he graduated from the National Institute of the Arts, Taiwan, in 1990, He won first prize in “the Fourth Taipei County Exhibition Sculpture Group,” First Prize in “the Thirteenth National Art Exhibition Sculpture Group” in 1992, and First Prize in “the Taipei City Art Exhibition Sculpture Group” in 1994, making him a very active mid-generation Taiwanese sculptor. In terms of style, Peng’s recent figure sculptures focus more on real-life bodies, with elegant postures and reserved expressions, displaying the touching spirit of young females, some confident and proud, some quiet and steady, some are nude, some dressed fashionably, some like a breeze, and some dynamic; different appearances have their unique touching glamour.

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) .

黃明珠 (台灣,1980年生)

彭光均 (台灣,1961年生)

廖堉安 (台灣,1979年出生)

1980年出生於花蓮。畢業於國立台南藝術大學應用藝術 研究所。2007年曾參與台灣建築.設計與藝術展演中心 「新金屬工藝展」聯展。2007年獲台灣工藝競賽佳作, 2009年作品入選第十四屆大墩美展。

1961年生於新竹縣竹東,1990年畢業於國立藝術學院, 1992年獲「第四屆台北縣美展」雕塑類第一名、「第 十三屆全國美展雕塑類」第一名,1994年獲「台北市美 展雕塑類」首獎,為活躍的台灣中生代雕塑家。彭光均 的近期的人物塑像,以寫實的人體做為抒發,優雅的體 態和內斂的表情,展露出少女動人的神韻,她們有的自 信驕傲,有的沉靜穩重,有的裸身、有的穿著摩登、有 的飄逸、有的動感,不同的形貌都有其靈動之處,各有 其動人的風情。

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「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 204

Lot 206

Lot 210

HOU Chun-ming (Taiwanese, b. 1963)

Dennis HWANG (Chinese-American, b. 1941)

Richard LIN (Taiwanese, b. 1933)

Born in Chiayi, Taiwan in 1963, he graduated from the Department of Fine Arts, National Institute of the Arts in 1987. He created a series of Construction Site Show works in 1985 and held his personal exhibition “Paradise” in 1990. His “World Sacrifice” and other woodcuts were published in 1994. Since 1988, he has held a series of solo exhibitions and was selected to participate in Italy’s Venice Biennale on behalf of Taiwan many times. His works are widely collected by local and foreign art museums and individuals.

Born in Hunan. Hwang is an expressionist painter in New York. In this period, he used batik and graphic techniques in an abstract surrealistic style, and wrote a book, The Art of Batik. Since 1961, Hwang has held over solo exhibitions and many group shows both in Taiwan and abroad. In 1971, he was invited by the U.S. State Department and the Asian Arts Association to visit the United States. One year later he moved to New York. Hwang has been influenced by Western thought and uses the tension between East and West in conceptualizing his work.

Lin was born into a wealthy family in Wu Feng in 1933. He graduated from Chien Kuo Senior High School and further studied architecture and art in London in 1949. Lin has taught at a famous college of art in the UK and served as an instructor at Royal Academy of Arts. In 1958 he started his personal exhibitions in many modern galleries in London and received the Encouragement Award from the Modern Art Association, London in 1961. In 1966, he also won the first award in the Public Painting Exhibition around entire UK held by Ulster Museum of Fine Arts. In the 60’s to 70’s, when engaged in minimalism art creation, he made a great contribution to grant “modern” meaning to the “margin” tradition of Chinese paintings. His works are collected by many art museums in Europe and USA.

侯俊明 (台灣,1963年生)

黃志超 (華裔美籍,1941年生)

林壽宇 (台灣,1933年生)

1963年生於台灣嘉義,1987年畢業於國立藝術學院美術 系。1985年創作「工地秀」作品系列,1990年發表個展 「極樂圖懺」、1994年發表「世祭圖」等版畫。1988年 起陸續舉辦個展及多次入選代表台灣參加義大利威尼斯 雙年展。其作品廣為國內外人士、美術館及私人藏家收 藏。

1941年生於湖南,為紐約新素材的表現派畫家。1961年 起於國內外舉辦個展十餘次、聯展多次。早期以蠟染材 料及版畫技術表現抽象超現實畫風,並著有《蠟染藝 術》一書。1971年應美國國務院及亞洲藝術協會之邀, 赴美訪問。1972年定居紐約後,創作與當時西方繪畫思 潮結合。18年來由於懷鄉及念舊的因素,逐步自我調 適,開始以東方人的眼光來看世界,把東西文化的衝突 和矛盾轉化成作品的內涵,達到具有中國特性而又有世 界共通風格的藝術作品。

霧峰林家後裔,畢業於建國中學。1949年赴英國倫敦研 習建築與美術。曾執教於英國著名藝術學院,並擔任皇 家藝術學院指導教師。1958年開始於倫敦多所當代畫廊 舉辦個展。1961年榮獲英國現代藝術學會勉勵獎。1966 年歐斯特美術館舉行全英國公開繪畫展中榮獲第一獎。 60~70年代,在英國從事極限繪畫創作過程中,做出了 他個人為中國文人畫中的「留白」空間賦予其「現代 性」意涵的重要貢獻。其作品廣為歐、美美術館收藏。

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Lot 217 Lot 213

Lot 216

CHEN Chieh-jen (Taiwanese, b. 1960)

MAO Tongqiang (Chinese, b. 1960)

WANG Zhijie (Chinese, b. 1931)

Born in Taoyuan, Taiwan in 1960. Before and after the lifting of martial law (1987) in Taiwan, he was active in performance art. Starting in 1996, he created the series “Revolt in the Soul & Body”, using computers to alter historical photographs of executions. In 2000, he began his straight photography series “The Twelve Karmas Under the City”, exploring the “virtual future”. He has taken part in international exhibitions such as the Taipei Biennial (1998), the Sao Paulo Biennial (1998), the Biennale di Venezia (Taiwan Pavilion) (1999), the Biennale de Lyon Contemporary Art (2000), the Kwangju Biennale (2000), the Taipei Biennial (2002) and PhotoEspana (2004). In 2001, he held a solo exhibition at the Galerie Nationale du Jeu de Paume in Paris. He won the Special Award of the Kwangju Biennale in 2000. He was the recipient of the Taiwan National Culture and Arts Foundation’s National Awards for Arts in 2009. Since 2002, he has created video installations such as “Lingchi - Echoes of a Historical Photograph” and “Factory”. The films explore issues such as colonialism, globalization and their impact on peripheral regions.

Born in Yinchuan, China. Graduated in fine arts from Ningxia University and completed advanced studies in China Academy of Art. He currently lives in Ningxia. Mao Tongqiang had held different solo exhibitions in France, Singapore, Beijing and Shanghai. His early works based on Death Profile and Fashion Wig, two series of thinking that correspond to each other, daring to get rid of tradition to reveal the pain, the disquiet and the cruelty that had been concealed. He had been through so much sufferance, lived and witnessed pain and impermanence. He’s almost destined to create tragic works rather than comedic ones. He had explored innovative painting styles, and is quite treasured by international market and collectors. He’s also very internationally profiled, and indeed contains capability as a modern artist.

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.

陳界仁 (台灣,1960年生)

毛同強 (中國,1960年生)

汪志傑 (中國,1931年生)

1960年生於台灣桃園,是台灣重要的當代藝術家之一。 在台灣解嚴前後,曾積極參與表演藝術創作。1996年開 始,他以電腦修改歷史刑罰照片的方式,創作了《魂魄 暴亂》系列作品。2000年又以直接拍攝的形式,開始了 探討「虛假未來」的《十二因緣》系列作品。他對歷史 和影像與權力的思考,犀利並令人驚駭的影像,迅速 引起關注。曾參加過「台北雙年展」、「聖保羅雙年 展」、「威尼斯雙年展─台灣館」、「里昂雙年展」、 「光州雙年展」、「上海雙年展」等國際雙年展,及阿 爾攝影節、西班牙攝影節、墨西哥攝影節等。2001年個 展於巴黎網球場國家畫廊,曾獲得2000年光州雙年展特 別獎。2009年獲「國家文藝獎」視覺藝術類榮譽。2002 年開始以錄影裝置的形式創作《凌遲考:一張歷史照片 的迴音》、《加工廠》等。影片—以時空交錯混雜的形 式,與無聲的影像,探討殖民主義、全球化與邊緣區域 過去、現在、未來的關係。

生於大陸銀川,畢業於寧夏大學美術系,結業于中國美 術學院油畫系進修班,現居寧夏;毛同強於法國、新加 坡、北京、上海都有其個展,在他的畫風裡前期作品是 「死亡檔案」正與「時尚假髮」兩個系列相對應的思 維,勇於突破傳統呈現出被掩蓋的痛苦,不安和殘酷, 毛同強生活中有過太多的磨難,經歷和目睹了太多的痛 苦和無常,毛同強注定要創作悲劇而不是喜劇式的作 品,嘗試新的畫風,受國際市場及收藏家所喜愛,是一 位國際關注,且頗具潛力的藝術家。

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。

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Lots 218, 239

Lots 219, 234

Lot 221

SHI Lei (Chinese, b. 1961)

YANG Din (Chinese-French, b. 1958)

ZHAO Nengzhi (Chinese, b. 1968)

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).

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 Sichuan, he graduated in 1990 from the Sichuan Academy of Fine Arts. Past exhibitions include the 1993 “China Oil Paintings Biennial” in Beijing, the 1994 “Art Collage Exhibition” in Chongqing, the 1998 “Uncertainty - Contemporary Chinese Photography Exhibition” in Amsterdam, the “Featherstone 1999 International Artists Exhibition” in Boston, the 2001 “Zhao Nengzhi Solo Exhibition” organized by the Contemporary Chinese Art Gallery in London and the 1st Montpellier “Chinese Contemporary Artist Biennial” held in 2005 in France. The same year also saw him participating in the “Future Archaeology - 2nd Chinese Artists Triennial” held by the Nanjing Museum as well as the “2nd Chengdu Biennial” at the Chengdu Century City Gallery. His works have received excellent reviews at all of these exhibitions.

石磊 (中國,1961年生)

楊登雄 (華裔法籍,1958年生)

趙能智 (中國,1968年生)

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。

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。

出生於四川,1990年畢業於四川美術學院。曾參加1993 年北京「中國油畫雙年展」,1994年重慶「切片藝術 展」,1998年荷蘭阿姆斯特丹「困惑-中國當代繪畫攝 影展」,1999年美國波士頓「99國際藝術展」,2001年 英國倫敦中國當代畫廊舉辦「趙能智個展」,2005年參 加法國第一屆蒙彼里埃「中國當代藝術雙年展」,同年 並於南京博物院參加「未來考古學-第二屆中國藝術 三年展」及成都世紀城美術館參加「第二屆成都雙年 展」,作品深獲好評。

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Lot 222

Lot 223

ZHANG Xiaotao (Chinese, b. 1970)

XIONG Yu (Chinese, b. 1975)

LI Jisen (Chinese, b. 1970)

Born in Hechuan, Sichuan Province, China. Zhang Xiaotao graduated from the Oil Painting Department of Sichuan Academy of Fine Arts. Solo exhibitions: “Flowers in the Dream” at the Tokyo Gallery, Japan, 2001; “The Blown-up Property”, Beijing, 2001; “Desire” at the Kunst Akademie Muenster in Germany, 2002; “The Erosion of Materialism”, Paris, 2003; “Dream Factory and Refuse Dump”, Beijing, 2004 and Tokyo, 2005; “Illusion”, Norway and Lithuania. His group exhibitions have included: “Between the Dream and Painting— Vienna from 1900 to 2000”, Germany, 2000; “Dream: Chinese Contemporary Art Exhibition” at the London Pacific Gallery, 2001 and Manchester, 2002; “The Left Hand-Right Hand” at the China and Germany Art Communication Exhibition, Beijing, 2003; “Madrid International Art Exhibition”, Spain, 2004; “Chinese Current Painting” at the INFELD Culture House, Vienna, 2004; “New Viewpoint of Chinese Painting” at Marella Arte Contemporanea, Italy, 2004; “Paris International Art Exhibition”, 2004; “Chinese Current Painting”, Italy and “The 2nd Prague Biennale”, Czechoslovakia, 2005.

Born in Chengdu, Sichuan, Xiong Yu graduated from the attached middle school of the Sichuan Academy of Fine Arts in 1995, and rose up into the oil painting department of the Sichuan Academy of Fine Arts. In 1999, he graduated from the oil painting department of the Sichuan Academy of Fine Arts and was admitted to the plastic arts department of the Sichuan Academy of Fine Arts as a professional graduate student of oil painting in the same year. In 2002, he obtained the Sichuan Art Academy oil painting master’s degree and began to teach at the artistic academy of Sichuan University. Xiong is a new talent of Chinese oil painting from the “Sichuan School of Painting”, after Luo Zhongli, He Duo-Ling and Zhang Xiaogang. His work participated in and was awarded in “Youth Art Exhibition of Sichuan Province” in Chengdu. In 2004, his works received a Bronze Prize in “Mood of the Youth-Exhibition of Reworded Paintings of Chinese Newly Emerging Artists” in Shenzhen.

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).

張小濤 (中國,1970年生)

熊宇 (中國,1975年生)

李繼森 (中國,1970年生)

生於四川合川。1996年 畢業於四川美術學院油畫系。 個展: 2001年,「夢裡的花兒」,日本,東京畫廊。 2002年「欲望」,德國明斯特藝術設計學院。2003年 「唯物主義的糜爛」,法國巴黎阿基阿妮基畫廊 。2004 年「夢工廠和垃圾場」,北京東京藝術工程。2005年 「幻景」,挪威,卑爾更3,14國際藝術基金會。2005 年「夢工廠和垃圾場」,日本,東京畫廊。2005年「幻 景」M.K.修爾里奧尼斯國立藝術博物館,立陶宛。聯 展: 2004年「中國繪畫中的新視點」,瑪蕊樂畫廊, 義大利米蘭。2004年巴黎國際藝術博覽會,法國巴黎。 2005年「中國當代繪畫」,義大利波洛尼亞銀行基金 會。2005年「第二屆布拉格雙年展」,捷克布拉格。

出生於四川成都,1995年畢業於四川美術學院附 中,升入四川美術學院油畫系,1999年畢業於四川 美術學院油畫系,同年考取四川美術學院造型藝術 系油畫專業研究生,2002年獲四川美術學院油畫系 碩士學位並任教於四川大學藝術學院。熊宇是繼羅 中立、何多苓、張曉剛等人之後,中國油畫「四川 畫派」的新秀。2002年作品參加成都「四川省青年 美展」並獲獎,2004年作品參加深圳「少年心氣- 中國新銳繪畫獎作品展」獲頒銅獎。

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)。

Lot 224

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Lots 227, 228, 232, 233

Lot 229

Lot 230

ZHOU Chunya (Chinese, b. 1955)

QIU Jiongjiong (Chinese, b. 1977)

CHEN Ke (Chinese, b. 1978)

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. In June 2010, he held his first retrospective in Shanghai Art Museum and also founded his new studio (incorporating a research institute and residential studios for visiting artists) in Shanghai. In the same year, he was named one of “Martell’s 2010 Artists of the Year”.

Born in Leshan, Sichuan Province. In 1994, he enrolled in Beijing Oriental Culture and Art School. He now lives and works in Beijing. He held the solo exhibition in New York in 2008, which has first time shown his works outside of China. His solo exhibitions also including, “Volunteer” (2005, Shanghai); “Enlightenment Exhibition”(2003, Shanghai). His main group exhibitions: “Get It Louder” (2007, Guangzhou, Shanghai, Beijing, Chengdu); “Naughty Kids: the Chinese New Generation Born After 1970” (2006, Beijing) and “Youth Spirit Chinese Young Artist Exhibition” (2004, Shenzhen).

Born in Tongjiang, Sichuan Province, Chen Ke graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and from Sichuan Institute of Fine Arts with an MFA in 2005. Chen Ke is currently working and living in Beijing. She was awarded the Inaugural Chengdu Biennial for Art Academy Students in 2001. In 2007, She held the exhibition “With you, I will never feel lonely” at Beijing Star Gallery and Milano Marella Gallery. Chen Ke is a representative artist. Her artworks derive aesthetics from animation and cartoons, closely connecting the affection in the virtual world with real life. The digital images from her painting demonstrates bright and colorful light, contributing to the diversity of her visual layout. She creates a popular cartoon world with kaleidoscopic and dazzling imagination.

周春芽 (中國,1955年生)

邱烔烔 (中國,1977年生)

陳可 (中國,1978年生)

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。2010年6月在上海美術館舉辦個人首次回 顧展,並於上海成立「周春芽藝術研究院」獲至成功與 好評。同年,在中國獲得「2010馬爹利非凡藝術人物」 的榮譽。

四川省樂山市人。1994年進入北京東方文化藝術學校 學習。現居北京。2008年於紐約舉辦首次海外個展。 個展 還包括 「志願 者」( 2005,上海 )、「啟蒙 」 (2003,上海)。主要的聯展:「大聲展」(2007,廣 州、上海、北京、成都)、「壞孩子的天空」(2006, 北京)、「少年心氣—中國新銳繪畫展」(2004,深 圳)。

生於四川省通江。2002年畢業於四川美術學院油畫系。 2005年畢業於四川美術學院油畫系碩士學位。現工作生 活於北京。2001年獲第一屆成都雙年展學生特展「新秀 獎」。2007年分別在北京星空間藝術中心和米蘭瑪蕊樂 畫廊舉辦「和你在一起,永遠不孤單」個展。陳可是一 位很有代表性的藝術家,她的作品由動畫、漫畫帶動美 學,從虛擬世界裡的情愛和真實人生的情感密切互動, 由數位影像呈現的鮮亮色光,構成變換多端的視覺造 型。她用繽紛絢奇的想像來為我們營造一個大家的卡通 新世界。

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Lot 235 Lot 241 Lot 231

WEI Jia (Chinese, b. 1975)

OUYANG Chun (Chinese, b. 1974)

Naritaka SATOH (Japanese, b. 1980)

Wei Jia was born in Chengdu, Sichuan in 1975. He graduated from the high school affiliated to the Sichuan Fine Arts Institute in 1995. In 2002 he graduated from the Central Academy of Fine Arts with a postgraduate degree equivalent to a master’s degree. Though Wei Jia’s paintings still retain the features of youth paintings, he has begun to enter into a new field of artistic expression, post-youth painting. In his works, Wei has frequently used the reality and surreality of daily life as two motifs. His recent works display his conscious efforts to integrate the image characteristics of literati painting and the spiritual verve of a religious self-perception. Of course what Wei really wants to express in his works is just a quasi-religious experience, not religious theme. The self image of the post -1970s generation of artists of China presents a “void” state, which typically is reflected in Wei’s recent works. This is primarily due to the fact that the post -1970s generation of artists of China have unintentionally been given a mission of “emptying”, that is, to completely empty the historic impact of past self and art on artists.

Born in Xian, Shaanxi in 1974, graduated from the Xian Institute of Fine Arts in 1993. From Ouyang Chun, we see more traces of a autodidact, and it is exactly this feeling which “originated from life” made his behaviors far apart from the artistic creations born from schools, and not so easy and obvious to see the source of the picture. From Ouyang Chun’s works, you may be able to find the craziness of Basquiat, the roughness of Baselitz and the scorns of Keith Haring, but the one thing you will not be able to find is the sense of decadency which belongs to schooled art. Ouyang Chun is determined to give painting a brand new interpretation, and therefore uses a multi-variant style to structure his painting empire.

Born in 1980 in Aichi prefecture, Japan. Naritaka Satoh graduated from the design department of Tokyo Art University in 2006. In 2007, he won the 8th SICF Gran Prix Prize, and received his master’s degree from Tokyo Art University in 2008. His solo exhibition history as below: “8th SICF, Gran Prix Exhibition” (2007, Tokyo); “Transplant Baby-The Synthetic Toys in Art of Naritaka Satoh” (2009, Frantic Gallery, Tokyo); and group shows in “GEISAI2” (2002, Tokyo); “Graduation Works Exhibition” (2006, Tokyo Art University Museum, Tokyo); “8th SICF” (2007, Tokyo); “9th SICF” (2008, Tokyo); “Graduation Works Exhibition” (2008, Tokyo Art University Museum, Tokyo); “Artist Show” (2008, Art Project Frantic, Tokyo); “10th SICF” (2009, Tokyo); “Frantic Collection” (2009, Art Project Frantic, Tokyo); “My Favorite Things” (2009, Art Project Frantic & Unseal Cotemporary, Tokyo); “Extra Real” (2009, Tokyo); “2010 Frantic Underlines” (2010, Frantic Gallery, Tokyo).

韋嘉 (中國,1975年生)

歐陽春 (中國,1974年生)

佐藤誠高 (日本,1980年生)

1975年生於四川成都,1995年畢業於四川美術學院附 中,2002年畢業於中國美術學院研究生同等學力課程 班。韋嘉的繪畫保持著青春繪畫的特徵,但在繪畫主題 上,他實際上已經開始「後青春」的表現領域,韋嘉的 繪畫主題基本上包括日常的現實性和日常幻想兩個基本 主題。這種向文人畫的圖像特徵和宗教式的自我感知靠 近的傾向,近年在韋嘉的繪畫中初現輪廓。並非真正意 義的宗教主題,而只是接近宗教的感知。70後藝術的自 我圖像處在一種「虛空」狀態,在韋嘉的近作中具有代 表性。主要在於這一代無意識地被賦予「清空」的使 命,即徹底清空過去時代的自我和藝術的歷史影響,在 一個消費社會成長的背景下,開始自我參照意義上的自 我圖像的表現。這種「虛空化」的自我圖像表現為一種 圖像的超驗性和無意義性兩個主要特徵。

生於陝西西安,1993年畢業於西安美術學院。在歐陽春 的身上,更多的是自我教育的痕跡,也正是這種自覺地 服從「來源於生活」的感受,令他的行動和學院出身的 藝術創作拉開了距離,不是那麼明顯、輕易地就能看到 畫面來源。在歐陽春的作品中,你或許可以找到巴斯奇 亞的癲狂、巴塞里茲的粗暴與基斯.哈林的戲謔,卻唯 獨看不到屬於學院藝術的那套腐朽做派—歐陽春堅決要 給繪畫一個新的解釋。因此,他用多變的風貌構建他的 繪畫帝國。

佐藤誠高,1980年出生於日本愛知縣,2006年畢業於 東京藝術大學設計學系,2007年榮獲第8屆S I C F設計 展 首獎, 並於 200 8年取 得東京 藝術 大 學 碩 士學 位。 其作品曾參與過的個展如下:「第8屆S I C F設計展」 (2007,東京);「移植嬰孩─佐藤誠高藝術的合成 玩具」 (2009,瘋狂畫廊,東京);以及聯展如: 「藝祭2」(2002,東京)、「畢業作品展」(2006, 東京藝術大學美術館,東京)、「第8屆SICF設計展」 (2007,東京)、「第9屆SICF展」(2008,東京)、 「畢業作品展」(2008,東京藝術設計大學美術館, 東京) 、「 藝術家展」 (2 0 08 ,瘋 狂 藝術 計畫 , 東 京)、「第10屆SICF展」(2009,東京)、「瘋狂畫 廊館藏展」(2009,瘋狂藝術計畫,東京)、「我喜愛 的事物」(2009,瘋狂藝術計畫&開啟的當代畫廊,東 京)、「極真實」(2009,東京)、「2010瘋狂強調」 (2010,瘋狂畫廊,東京)。

303


Lot 244 Lot 243

Lot 245

TSONG Pu (Chinses, b. 1947)

HAN Young Wook (Korean, b. 1963)

SU Shengqian (Chinese, b. 1969)

Born in Shanghai in 1947 and graduated from Universidad Complutense de Madrid in 1978. He won the Taipei Mayor's Award of the Chinese Modern Painting New Prospect show in 1984 and the Taipei Modern Art Biennale Award in 1992. Since 1970 he has held many personal and joint exhibitions domestically and abroad. He used small imprints to constitute big units in composition in his early years and compared those small mechanical-like grids to his own worldview. His works were collected by the Taipei Fine Arts Museum, Hara Museum of Contemporary Art, Japan, Portside Gallery, Yokohama, Japan, and National Taiwan Museum of Fine Arts.

Born in 1963. Han attained Bachelor and Master of Fine Arts majoring in Painting from Hong-Ik University. His work has brought him many awards in 2006: Grand Prize, the 7th Sin-SaImDang Grand Art Exhibition; Grand Prize, the 34th Kang-Won Grand Art Exhibition. He held his first solo exhibition at Galerie Bhak, Seoul in 2008. Han has widely exhibited his work around the world including, “Art Taipei” (2009, Taipei);”Art Karlsruhe”, (2009, Germany); Art ASIA in Miami, (2008, Miami); “Art Fair Tokyo”(2008, Tokyo); “Art Cologne-Palma de Mallorca”(2007, Spain); “SH Contemporary 0”, Shanghai, (2007, China)

Su graduated from oil painting department of Sichuan Fine Arts Institute in 1998. He has since been teaching in Fine Art School of Zhejiang Normal University. Primary Exhibitions: 2002, ‘Bi Gan’ Art Exhibition, Shanghai; 2002, 360-10 artists exhibition, Shanghai; 2002, HIGH, Shanghai; 2002, Fake Truth-oil panting solo exhibition, Shanghai; 2003, oil painting solo exhibition, Zhejiang; 2005, oil painting solo exhibitionState, Zhejiang; 2007, Nirvana Series-5 artists Exhibition, Shanghai. Oil painting works Oriental Pearl No.1 and No.2 were published on Chinese Contemporary Art Magazine; oil painting works Oriental Pearl No.3 and No.4 were published on Chinese Oil Painting Magazine; Oil painting works Full Beard and Colorful Hat were also published on Chinese Contemporary Art Magazine.

莊普 (中國,1947年生)

韓永旭 (韓國,1963年生)

蘇勝前 (中國,1969年生)

1947年生於上海,1978年畢業於西班牙馬德里大學。 1984年獲中國現代繪畫新展望台北市長獎。1992年獲台 北現代美術雙年展獎。1970年起於國內外舉辦過多次個 展及聯展。早期以慣用的印記小單元,組構成畫面的大 單元。看似機械的小方格印記,莊普拿來與他自己的宇 宙觀相印證。其作品獲台北市立美術館、日本原美術 館、日本橫濱港邊畫廊、國立台灣美術館等典藏。

1963年出生。畢業於韓國弘益大學,獲得美術繪畫專業 學士及碩士學位。2006年榮獲第七屆申師任堂美術展大 獎及江原道美術展大獎。2008年首次在首爾B h a k畫廊 舉辦個展。作品也曾於世界各大藝術展展出,包括「台 北國際藝術博覽會」(2009年,台北)、「卡爾斯魯厄 國際藝術博覽會」(2009年,德國)、「邁阿密亞洲藝 術博覽會」(2008年,邁阿密)、「東京藝術博覽會」 (2008年,東京)、「科隆藝術博覽會-西班牙帕爾 馬」(2007年,西班牙)、「上海藝術博覽會國際當代 藝術展」(2007年,中國)。

1998年畢業於四川美術學院油畫系,同年9月至今任 教於浙江師範大學美術學院。主要展覽:2002年「比 干藝術展」,上海、「360十人藝術展」,上海、 「HIGH」,上海、「偽真實—油畫作品個人展」,上 海;2003年「個人油畫作品展」,浙江; 2005年「個人 油畫作品展—《狀態》」,浙江;2007年「涅槃系列— 五人展」,上海。油畫作品《東方明珠》之一、之二發 表與《中國當代藝術》;油畫作品《東方明珠》之三、 之四發表與《中國油畫》;油畫作品《大鬍子》、《花 帽子》發表於《中國當代藝術》。

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Lot 246

Lot 247

Lot 248

Toru ISHII (Japanese, b. 1981)

Masanori MURAO (Japanese, b. 1974)

Ayako ROKKAKU (Japanese, b. 1982)

Born in 1981 in Shizuoka prefecture, Japan. Toru Ishii graduated from Tokyo University of the Arts in 2006. In 2007, he won the Mainichi/DAS Student Design Award and the 8th SICF Juror Prize. Toru Ishii received his master’s degree in 2010. His solo exhibition history as below: “Toru Ishii Solo Exhibition” (2006, Tokyo); “Toru Ishii solo show” (2007, unseal contemporary, Tokyo); “Metropolitan Moment” (2010, Mizuma Art Gallery, Tokyo); and group shows in “7th SICF” (2006, Tokyo); “8th SICF” (2007, Tokyo).

Born in 1974 in Tokyo, Japan. Masanori Murao received his B.A. from the design department of Tokyo Zokei University in 2000, and then an M.A. from Tokyo University of the Arts in 2002, majoring in oil painting. He has been holding solo exhibitions in Gallery Q such as “Yourself is Myself” (2002, Tokyo); “My Territory” (2003, Tokyo); “Pissenlit” (2005, Tokyo); “Murao Masanori Works” (2010, Tokyo); and other solo exhibitions such as “Tokyo meets Berlin” (2007, Finearts Con. Tra, Berlin); “Masanori Murao” (2007, Galerie Judy Straten, Netherlands); “Out of Tokio” (2007, Galerie Thomas Hühsam, Germany). He also participated in group shows as “20th Anniversary Exhibition” (2003, Gallery Q, Tokyo); “Tokyo Wonder Wall 2004” (2004, Tokyo); “Four Points of View” (2005; 2006, Gallery Art Point Tokyo); “Asian Contemporary Art Fair New York: “ (2007, New York); “Art Fair 21” (2008, Germany).

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”.

石井亨 (日本,1981年生)

村尾成律 (日本,1974年生)

六角彩子 (日本,1982年生)

石井亨,1981年出生於日本靜岡縣,2006年畢業於東 京藝術大學美術學部工藝科染織專攻,2007年榮獲每 日D A S學生設計獎及第8屆S I C F設計展評審委員獎, 2010年取得東京藝術大學校碩士學位。個展的經歷如 下 : 「 石井 亨 個展 」 (20 06 ,東京) ; 「石 井亨個 展」(2007,開啟的當代畫廊,東京);「都市的時 間」(2010,三�畫廊,東京);以及群展如:「第 7屆SICF展」(2006,東京)、「第8屆SICF設計展」 (2007,東京)。

村尾成律,1974年出生於日本東京。2000年畢業於現於 東京造形大學造形學系,2002年取得東京藝術大學美 術研究所碩士,主修油畫。村尾成律在Q畫廊舉辦過多 次個展,如「你自己就是我自己」(2002,東京)、 「我的領域」(2003,東京)、「蒲公英」(2005,東 京)、「村尾成律作品展」(2010,東京),其它個展 如「當東京遇見柏林」(2007,柏林)、「村尾成律」 (2007,茱蒂史特拉騰畫廊,荷蘭)、「東京之外」 (2007,湯瑪士�胡森畫廊,德國);參加過的聯展 有「20周年記念展」(2003,Q畫廊,東京)、「東京 奇妙牆2004」(2004,東京)、「4個觀點」(2005、 2006,藝術論點畫廊,東京)、「紐約亞洲當代藝術 節」(2007,紐約)、「德國科隆國際當代藝術博覽 會」(2008,德國)。

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。

305


Lot 252 Lots 249, 251

Lot 250

KWON Ki Soo (Korean, b. 1972)

Yoshitaka AMANO (Japanese, b. 1952)

Yayoi KUSAMA (Japanese, b. 1929)

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 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 on 22nd, March, 1929. Kusama was called the classic artist still 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-garde 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.

權奇秀 (韓國,1972年生)

天野喜孝 (日本,1952年生)

草間彌生 (日本,1929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年韓國美術館的「快樂工廠」、2004 年森美術館的「沉默的優雅-東亞近代美術」、2004年 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。

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。

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。她十歲患病導致幻聽幻視。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。

306


Lot 255

Lot 253

Lot 254

Hiroyuki MATSUURA (Japanese, b. 1964)

Mayuka YAMAMOTO (Japanese, b. 1964)

YOON Jongseok (Korean, b. 1970)

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+Skateboard” designs using “Character Illustration” themes. Exhibitions: 2007, “Ani Manga”, 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.

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 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).

松浦浩之 (日本,1964年生)

山本麻友香 (日本,1964年生)

尹鍾錫 (韓國,1970年生)

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。

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)。

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」( 2002, 法國 )、 「 中國 國際 藝 術 節」 (2005年,北京)。

307


Lot 256 Lot 257

Lot 258

Yujin KANG (Korean, b. 1977)

WEI Qimei (Chinese, b. 1923)

ZHANG Zhenggang (Chinese, b. 1953)

Born in 1976, Korea. Yujin Kang graduated from the college of Fine Art at Seoul National University in 2001, and proceeded to attain her MFA at the same university in 2004. She continued her studies in London and got the MFA in Goldsmiths College, University of London. Her works have been presented in solo exhibitions at Galerie Gaia in 2004 and Kumho Museum in 2007. She has also participated in various group exhibitions, including “Space on the Surface” at Doosan gallery (2009, Seoul);”NO BOUNDS- Happy Contemporary 2007!” at SUN contemporary (2007, Seoul); “Entre Paris et Seoul,” at Galerie Paris Beaubourg (2003, Paris).

Born in Anqing, Anhui Province. In 1942, he enrolled in Art Department of Chongqing Central University and graduated in 1947. Invited by Xu Beihong, he went to Peking Art College. In 1950, he taught in painting department of China Central Academy of Fine Arts. He was the director and the professor of graduates course in China Central Academy of Fine Arts, and the member of Chinese Artists’  Associate. His artwork attended the 1st National Art Exhibition in 1949; and awarded silver prize at the 6th  and 7th National Art Exhibition in 1984 and in 1989 respectively. His artworks were collected by China National Art Gallery and other art institutions.

Zhang was born in Shanghai. He attended the Refresher Course of Lecturers of Oil Painting Department at Central Academy of Fine Arts in 1982. He graduated from the Fine Arts Department of Art College of the Chinese People’s Liberation Army in 1987. Now he is a painter of Shanghai Oil Painting and Sculpture Institute, member of Chinese Artist’s Association, director of Chinese Oil Painting Association. His work has won the Silver Award in the 2nd National Art Exhibition of Young Artists in 1980. He has won the Excellence Prize in Military Subject Art Exhibition in 1986 as well as the Merit Prize in 60th Anniversary of Chinese Army: National Art Exhibition in 1987. In 1989, he won the Bronze Award in the 7th National Art Exhibition. In 1992, he won the Award of Creative Work in Shanghai Art Exhibition. And in 1994, he was awarded with the Chinese Oil Painting Art Prize in the 2nd Chinese Annual Oil Painting Exhibition. For many years, he has won numerous prizes and his works are collected in the National Art Museum of China.

姜流真 (韓國,1977年生)

韋啟美 (中國,1923年生)

張正剛 (中國,1953年生)

生於韓國首爾,女性藝術家。2001年於韓國首爾國立大 學取得美術系學士。於2004年完成碩士學位。2005年畢 業於英國倫敦大學金史密斯學院美術系碩士。2004和 2006年,分別在韓國首爾Gaia畫廊和錦湖美術館舉辦過 個人展覽。另參加多次展覽,如「表面空間」(2009, 首爾)、「無疆界—快樂當代2007!」(2007,首 爾)、「2006 Celeste藝術大獎最終入圍」(2006,倫 敦)、「巴黎與漢城之間」(2003,巴黎)。

安徽省安慶人。1942年進入重慶中央大學藝術系學習。 1947年,從中央大學藝術系畢業。應徐悲鴻之邀任教於 北平藝專,1950年任教於中央美術學院繪畫系。曾任中 央美院油畫系研究生班主任、教授,中國美術家協會會 員。1949年他的油畫作品參加第一屆全國美展;1984年 和1989年其作品分別獲第六屆和第七屆全國美展銀獎。 他的作品曾被中國國家美術館以及其他藝術機構收藏。

生於上海。1982年入中國美術學院油畫係教師進修班, 1987年畢業於解放軍藝術學院美術系,現為上海油畫雕 塑院畫家、中國美術家協會會員、中國油畫學會理事。 作品參加1980年第二屆全國青年美展,榮獲銀獎。1986 年軍事題材專題美展,獲優秀作品獎。1987年建軍六十 週年全國美展,獲佳作獎。1989年第七屆全國美展,榮 獲銅獎。1992年上海美術作品展,獲創作獎。1994年第 二屆中國油畫展,獲中國油畫藝術獎,多年來作品獲獎 無數,並獲中國美術館收藏。

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Lot 261 Lot 259

Lots 260, 262

GUAN Zilan (Violet KWAN) (Chinese, 1903-1986)

MA Pai-sui (Taiwanese, 1909-2003)

YANG Chi-tung (Taiwanese, 1906-2003)

Born in Liaoning, China. He graduated from Liaoning Normal College in 1929 and taught in various high schools and colleges in Liaoning, Jilin and Beijing. He used to be an editor and committee member of the National Institute for Compilation and Translation, responsible for the editing of elementary and middle school art textbooks. In addition he had membership in various art societies, including Art Society of China in Taiwan, Chinese Art Society, consultant of Chinese Water Color Painting Society, researcher of the Chinese Academic institute, judge of Chung Shan Literary Prize etc., In 1990 Taiwan Museum of Fine Arts held a workshop of “Ma Pai-sui Art Research” and complimented on his achievements. In 1999, “Color and Landscape: Ma Pai-sui Retrospective Exhibition at Age 90” was held in National Museum of History where more than 200 related books were published. His achievement and style were highly respected with all his contribution to watercolor painting education and research. Ma Pai-sui passed away in New York in 2003.

Born in Fongyuan City, Taichung County, Yang studied watercolor painting at Taipei Normal School under Ishikawa Kinichiro after graduated from elementary school. He moved back to Taichung after graduated and taught at the Taichung Commercial Vocational School (National Taichung Institute of Technology). He won the highest honors at the Imperial Art Exhibition and was selected to the Exhibition for sixteen times. He also won an honorable mention in “Japan Art Exhibition of National Teacher”, “Japan Art”, and “Salon du Printemps”. Yang was active to participated and led “Central Taiwan Art Exhibition” and “Whale Island Art Exhibition, and also created the Chuen-Chiou Art Association, and Central Taiwan Watercolor painting association. Yang was one of the most distinguished watercolor painters in Taiwan. He died in 2003 in Taichung at the age of ninety-eight.

Guan graduated in Zhonghua University, Western Painting, in Shanghai under the instruction of Chen Baoyi in 1927. In that same year, she went to Japan for advanced studies and enrolled in Cultural Institute of Tokyo, Japan. Her artworks have been exhibited by Nika Exhibition, Ueno Art Exhibition and Hyogo Art Exhibition on many occasions. In 1927, Japan’s famous magazine published an article reporting Guan with high acclaim. In 1964, Guan’s works were put on exhibition in Argentina. In 1972, her artwork Chrysanthemum was collected by Japan Cultural Exchange Association. In 1983, Guan’s Violet was put on the collections’ extibition-30th anniversary of the establishment of Shanghai Research Institute of Culture and History. Many of her works have been collected by galleries in Japan, Taiwan, Hong Kong, Macao, Canada, Britain and the USA. She passed away in Shanghai in 1986. She was the member of Shanghai Research Institute of Culture and History and China Artist Association.

馬白水 (台灣,1909-2003)

楊啟東 (台灣,1906-2003)

關紫蘭 (中國,1903-1986)

東北遼寧人。1929年畢業於遼寧師範學院,畢業於遼寧 省立師範專修科,先後任教於遼寧、吉林、北平等地師 校及中學。曾任台灣師範大學美術系專任教授、台灣藝 專及文化大學兼任教授、國立編譯館中小學美術教科書 編輯委員及主任委員、中國畫學會理事、中國美術協會 常務理事、中國水彩畫會顧問、中華學術院研士、歷屆 全國美展、台灣省美展及中山文藝獎評審委員等。1979 年榮獲華府美國協會金牌獎。1990年省立美術館為其舉 辦「馬白水繪畫藝術之研究」,對其藝術成就推崇備 至,並在世界各地舉辦展覽;1999年國立歷史博物館舉 辦「彩墨千山:馬白水九十回顧展」並出版200多幅作 品圖錄。其成就與風範為國人所敬仰,對台灣水彩畫教 學、研究和推廣,貢獻卓著。2003年卒於紐約。

出生於台中縣豐原市,小學畢業後北上就讀台北師範學 院,從石川欽一郎學習水彩畫。台北師範畢業後回到中 部任教於台中商職(今國立台中技術學院)。作品曾入 選「帝展」共十六次以及入選日本「大潮會展」、「日 展」及法國「春季沙龍展」。積極參與主導「中部美 展」及「鯤島美展」,還創立了春秋美術會及中部水彩 畫會,為台灣畫壇最資深的水彩畫家之一。於2003年病 逝於台中,享年98歲。

1927年畢業於上海中華藝術大學西洋畫科師事陳抱一。 同年赴日本留學,入日本東京文化學院。其作品曾多次 入選日本「二科會」美術展、上野美術展、兵庫縣美術 展,昭和二年十月日本著名雜誌《婦人─女士造型》藝 術對關紫蘭作了詳細介紹,並給予高度評價。1964年關 紫蘭的油畫赴阿根廷展覽,1972年關紫蘭女士油畫作品 《菊花》被日本文化交流協會收藏。1983年關紫蘭的作 品《紫羅蘭》參加上海文史館建館三十周年藏畫展,多 幅作品被日本、台灣、香港、澳門、加拿大、英國、美 國畫廊收藏,1986年病逝上海,逝前為上海文史館員, 中國美術家協會會員。

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Lot 264

Lot 265

WANG Yiguang (Chinese, b. 1962)

LIN Hairong (Chinese, b. 1975)

KIM Ji Min (Korean, b. 1975)

Born in Shandong Province. In 1977, he enrolled in Fine Art Department of Shandong Taian Normal College. And he graduated from the “Central Academy of Fine Arts Beijing” with Master’s Degree in 1990. Wang has worked as a creative designer for China Railway Construction Corporation until now. He is the director of art and photography department in China Railway Construction Press, vice president of Continent Artists’ Association. He is one of the organizers of Continent Oil Painting Exhibition. His artworks have been invited in national art exhibitions and other important overseas exhibitions and collected by many domestic and overseas museums and important private collectors.

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 held 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.

Kim Ji Min obtained his MFA from the Wimbledon College of Art, University of London, UK in 2006. He has held solo exhibitions in Korea, and participated in group shows in different countries: “Center for Drawing”, Wimbledon drawing centre, London, UK, 2005; “Interim Show”, Space 44, London, UK, 2005; “The Scent of Korea”, Daegu Art Center, Daegu, Korea, 2006; “Iron & Art Special Project Exhibition”, Seyun Iron Museum, Korea, 2007; “First Steps – New Art from Korea”, Art Seasons, Beijing, China, 2008.

王沂光 (中國,1962年生)

林海容 (中國,1975年生)

金志旻 (韓國,1975年生)

生於山東。1977年考入山東泰安師範學院美術系。1990 年畢業於中央美術學院油畫研究生班,獲碩士學位。自 1990年任職於中國鐵道建築總公司,副高級美術師。現 為中國鐵道建築報社美術攝影部主任、大路美術家協會 副主席。是《大路畫展》的主要組織者之一。其油畫作 品曾多次入選全國美展和其他國內外重要展覽。多件作 品被國內外美術館及收藏家購藏。

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「閒看庭前花開落」, 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。

金志旻於2008年完成英國倫敦溫布頓藝術學院的碩士學 位。他曾在韓國舉辦過數次個展,且在不同國家參加聯 展:2005年,「繪畫中心」,溫布頓繪畫中心,英國倫 敦,「中間時期展」,44空間,英國倫敦;2006年, 「韓國的味道」,大邱藝術中心,韓國大邱市;2007 年,「鋼鐵與藝術特殊計劃展」,Seyun鋼鐵博物館, 韓國;2008年,「第一步─韓國新藝術」,季節畫廊, 中國北京。

Lot 263

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Lot 266

Lot 267

Lot 268

HSIAO Yi (Taiwanese, 1956-2006)

JIAO Xingtao (Chinese, b. 1970)

LU Hsien-ming (Taiwanese, b. 1959)

Born in Chiayi, Taiwan. Hsiao started off as an apprentice to craftsmen at Buddhist and Taoist temples around southern Taiwan and later began to create his own woodcarvings of the deities that decorate temples. Daily life experience helps him to ponder on the differences and contradiction between humanity and Buddha nature. Spring Gallery held his solo exhibition in 1981. After then, his art is also frequently in galleries and art centers. In 1987, Taichung Culture Center organized his solo exhibition in 1987. In 1992, his sculptures are included in the International Art Fair in Singapore. Hsiao has tried several themes and objects, such as figures, head portraits, animals and motorcycles in a mixed style with Taiwan folk custom and modern simplicity. He started to use stainless steel and wire for creative material in 1997 and then also use iron as one of his media. In his later years, he isolated himself to create mainly wooden sculpture in the mountain of Sanchih, Taipei County. His various and talented sculptures shows with simple and unadorned quality to express a Zen style.

Born in Chengdu, Sichuan in 1970, Jiao graduated from the Sichuan Academy of Fine Arts in 1996. He 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.

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.

蕭一 (台灣,1956-2006)

焦興濤 (中國,1970年生)

陸先銘 (台灣,1959年生)

台灣嘉義人。1973年習傳統雕刻於屏東,接受傳統佛像 雕刻的啟蒙。1977年脫離傳統轉於自由創作,以真實生 活的體會,思索人性與佛性的對立與矛盾。1981年首次 個展於春之藝廊。1987年台中文化中心個展。1992年受 邀於新加坡國際藝術展。他的作品包括許多主題與對象 物,有人體、頭像、動物、摩托車等,在台灣民間生活 中,融入現代簡約的元素。1997年首次嘗試以不鏽鋼金 屬線作為創作媒材,1998年更嘗試鐵雕創作。晚年潛居 台北縣三芝鄉山間創作,以人物的木刻創作為多。作品 風格洋溢樸拙,造型多變,極富禪意。

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 國當代藝術年鑑展」,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。

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。

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Lot 273

Lot 270

Lot 272

HUANG Po-ren (Taiwanese, b. 1970)

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

LIU Jia (Chinese, b. 1982)

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 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.

Liu Jia was born in Chongqing. He moved his studio to Chongqing Tank Loft Contemporary Art Center in 2006. Liu graduated from the sculpture department of Sichuan Fine Arts Institute in 2007. His artworks have been collected by Les Abattoirs Toulouse Modern Art Gallery of France. He has been reported by Contemporary Art, Form and State, and Toulouse Culture. Primary Exhibitions: 2004, “The 3rd Chongqing Fine Artworks Exhibition”, Chongqing; 2005, “Nanjing Road Sculpture Invitation Exhibition”, Shanghai; 2006, “China is Back Contemporary Art Exhibition”, France; 2007, “Taiwan Art Fair”, Taiwan.

黃柏仁 (台灣,1970年生)

楊英風 (台灣,1926-1997)

劉佳(中國,1982年生)

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,作品《狗札記之快樂 時光》為國立台灣美術館購藏;2007年參加台北國際藝 術博覽會。

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。

1982年生於重慶。2006年入駐重慶坦克庫.當代藝術中 心。2007年畢業於四川美術學院雕塑系。作品被法國土 魯斯阿巴圖瓦藝術館收藏,曾發表於《當代美術家》、 《形態》、《圖盧茲文化》等刊物。主要展覽: 2004年 「第三屆重慶市美術作品展」,重慶;2005年「上海南 京路雕塑邀請展」,上海;2006年「中國歸來─當代藝 術展」,法國;2007年「 台灣藝術博覽會」,台灣。

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Lot 274

Lot 275

Lot 276

LI Kuang-yu (Taiwanese, b. 1954)

HUNG Yi (Taiwanese, b. 1970)

Yoshitomo NARA (Japanese, b. 1959)

He was born in Kaohsiung and graduated from the National Taiwan Academy of Art, majoring in sculpture. He received his master’s degree in Art from Madrid College in 1983, and he has won the Five Major Art Colleges award from the Cultural Department in Spain. He also has been selected by the Coin Sculptures Exhibition of Spain Autumn Salon.

Born in 1970, Taichung, Taiwan. 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.

Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artist is infatuated with subjects with big heads and big eyes; he is well-known in depicting the variety of emotions showing through the character’s eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today, his works are in collections of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other well-known museums in the world.

李光裕 (台灣,1954年生)

洪易 (台灣,1970年生)

奈良美智 (日本,1959年生)

1954年生於高雄。國立藝專雕塑科畢,1983年西班牙國 立馬德里大學美術學院碩士班畢業。曾獲西班牙文化部 五大藝術學院獎,並多次入選西班牙秋季沙龍,錢幣浮 雕展。

1970年生於台灣台中,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。

生於日本青森縣弘前市,現居住於東京。早期的作品以 插畫性質為多,但在1980年代後期即發展出他以小人頭 像為主的風格;奈良美智對於大頭和大眼型的小人相當 著迷,他的特色在於塑造各種帶有情感的眼神,其中最 知名的是斜視的眼神(有人說是代表憤怒、有人則說是 代表了邪惡)。在1990年代後期,他也開始創作立體作 品,並採用不同媒材拼組的方式。今日他的作品已被許 多博物館收藏,如紐約現代藝術博物館和洛杉磯當代藝 術博物館等。

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&

CONTEMPORARY

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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 Buyer 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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羅芙奧台北2010秋季拍賣會 Ravenel Autumn Auction 2010 Taipei